■hvi 




Estimates, Costs & Profits 

HOUSE PAINTING & INTERIOR DECORATING 

By r. N. VAKDERWALKER 






Book — 



^ :> 



Copyright }i". 



/^/ 



/ 



COPaSIGHT DEPOSm 



Estimates, Costs 
and Profits 

For 

House Painting and Interior Decorating 



By 
FfN. VANDERWALKER 

Paint Information Bureau, Carter White Lead Co., Chicago ; 

Graduate in Commerce, Northwestern University ; Author 

of "Automobile Painting," "American 

Stencils and Stenciling" 



REVISED EDITION 



ILLUSTRATED 



CHICAGO 

FREDERICK J. DRAKE & CO. 

Publishers 



"TT305 

.V3 
1^/7 



Copyright 1917 

By Frederick J. Drake & Co. 

Chicago 

Copyright 1916 
By F. N. Vanderwalker 



IK 



r 



DEC -8 1SI7 

©CI.A481U25 



'V)'^ 



PREFACE 

Efficiency is the goal of the business world today 
and it means just as much to the contracting painter 
as to any other business man, efficiency in business 
methods, in handling men, equipment and materials. 
The efficient painter makes money on a contract that 
his inefficient competitor would fill at a loss. 

To know your business, to figure where the other 
fellow guesses at it is the most worthy, the most effect- 
ive of all efforts to make a profit. 

The figures given in this book were carefully worked 
out and verified. They are given chiefly to explain 
the method, but all are as nearly accurate as it is pos-' 
sible to make them under average working conditions. 
Any tests you may make probably will not come out 
in exactly the same figures, but they will show that 
the figures given are accurate enough for all practical 
purposes and to furnish a basis upon which to build 
an estimate and calculate costs. 

THE AUTHOR. 



CONTENTS 



CHAPTER I - 

PAGE 

Count the Cost 9 

CHAPTER II 

Figuring the Cost of a Job 15 

Section 1. — Material Cost 15 

Section 2. — Labor Cost 15 

Section 3. — Overhead Expenses 16 

Section 4. — Other Methods of Figuring 20 

Section 5.— Profit 25 

CHAPTER III 

Job Records \ 27 

CHAPTER IV 

Making An Estimate for Exterior Painting 33 

Section 6. — Measuring Surface from the Building 35 

Section 7. — To Figure the Material 39 

How Many Gallons from a Mix? 39 

How Much Surface Will One Gallon Cover? 40 

Section 8. — To Figure the Labor 41 

What Is a Day's Work? 41 

Painting Weatherboarding 44 

Boards; Brick; Cement; Rough Cast Stucco 44 

Painting Difficult Surfaces 44 

Time for Setting Stages and Ladders 47 

Time for Mixing Colors 47 

Burning and Scraping scaled Paint 47 

Extras 48 

Section 9 — Measuring Surface from the Plans 53 

7 



8 CONTENTS 

CHAPTER V 

PAGE 

Making An Estimate for Interior Decorating 63 

Section 10. — Measuring — Interior 65 

From the Eooms 65 

From the Plans 67 

Section 11. — To Figure the Material — Interior 83 

How Much Surface Will One Gallon Cover? 
— Of Flat Lead Paint; Varnish; Hard 
Oil; Shellac; Wax; Size;- Stains; Fill- 
ers; Enamel; Varnish Remover; Calci- 
mine; Bronze; Tiffany Color; Starch. . .83-85 

Section 12. — To Figure the Labor — Interior 86 

What Is a Day's Work? — Painting Wood 
Trim; Smooth Plaster Walls; Sand Fin- 
ish Walls; Rough Stucco Walls; Canvas; 
Muslin; Wall Board; Sizing; Enamel- 
ing; Varnishing; Shellacing; Staining; 
Calcimining ; Bronzing; Starching; 
Stippling; Floor Finishing; Waxing 
and Polishing; Preparing Surfaces; 
Washing; Tiffany Glazing; Stencilling; 
Mixing Colors 86-89 

CHAPTER VI 

Prices and Pricing 98 

Section 13.— The Price Per Square Yard 101 

Section 14. — The Prices Others Charge 104 

Time and Material Basis 104 

Exterior Painting Prices 117 

Interior Decorating Prices 120 

CHAPTER VII 
The Modern Paint Shop — Its Management 126 



ESTIMATES, COSTS AND 
PROFITS 



CHAPTER I 
COUNT THE COST 

Hordes of painters, like business men in other lines, 
seem to think they must be prospering if only they are 
doing a large business. If they can underbid another 
man and succeed in getting a large contract from him 
they chuckle with glee, even though they have figured 
the price down so close that there is absolutely nothing 
left for profit, with the chance of coming out on the 
wrong side of the ledger. It seems a curious phase 
of the American character that this mania for doing 
a large business should so often be allowed to run 
away with good judgment, and the question of whether 
the business is a profitable one should be so frequently 
entirely overlooked. 

Many men, especially in the painting trade, have 
no idea whatever what it costs them to run their 
businesses. In some communities the estimates sub- 
mitted by the painters look like answers in a guessing 
contest rather than carefully calculated figures. The 
contractor who guesses too high loses the job, while 
the one who guesses too low gets it without a profit. 
They figure that if they employ a man for $3 a day 

9 



10 ESTIMATES, COSTS AND PROFITS 

and can charge $3.50 for his time that they are making 
a profit of a half dollar on the \York of that particular 
man, but they fail to take into account all the numer- 
ous items of shop expense which must be added to the 
wages paid to that man to get his actual cost to the 
employer. There is insurance, rent, interest on the 
cost of stock, wear and tear on scaffolds, tools, brushes, 
cartage, telephone, shopman's wages, clerk hire and 
numerous other incidentals that must be paid for 
somehow before any profit can be realized from the 
wages of the workmen. In a shop employing an aver- 
age of from ten to twelve men these shop expenses, 
leaving out all question of profit to the employer, will 
often amount to $7 or $8 a day, or some 75c per man. 
Yet the employing painter goes blindly on, figuring 
that he is making a profit when he charges his cus- 
tomers 50c a day profit on the wages of each man. 
Perhaps he thinks he is covering the shop charges by 
the profit on material, but let him figure it up care- 
fully and he will find that this is seldom done. Yet 
he goes right along in the same old rut, taking a job 
for a low figure, because some other painter has of- 
fered to do it for that price, without even stopping to 
figure whether he will make a profit or not. He argues 
that if the other man can do it for that much money, 
certainly he can. Like as not the other man's low 
figure exists only in the mind of the customer, who is 
trying to beat down the price. This is too often the 
reason why painters are slow and uncertain pay, and 
why the manufacturers do not co-operate with them 
more readily to grant special trade discounts or sim- 
ilar favors that thoughtful men believe should be 
legitimately granted. 

Do some mental calculating as well as manual work ; 



COUNT THE COST 11 

sharpen up your pencil and figure everything, let the 
other fellow guess on his measuring and estimates and 
he will also have to guess where his profits have gone. 

Painting is a business, and painters, to be successful, 
must adopt successful business methods. Particularly 
is this true of the contractor who employs a number 
of men. He is not a mechanic any more; he is a 
business man and needs a business organization just 
as much as a railroad or other big corporation. 

In ''The Dutch Boy Painter" this clear cut state- 
ment of the contractors' position was printed. It 
should benefit all who are trying to make real profit. 
''Are You a Real Contractor?" is the title: 

' ' What is your idea of being a contracting painter ? 
Is it to make just day-wages, the same as the man who 
works for you? 

''Or do you expect some compensation also for — 

"(a) The money you have invested; 

*' (b) The risks you take of losing money; 

"(c) The extra worry of running the business? 

"You know a good bond pays less return than a 
share of good stock. Why? Because, first, there is 
little or no risk. The interest on a bond must be paid 
whether the business makes money or not. A share 
of stock pays a return only if the business makes 
money. 

"Bondholder vs. Shareholder. The wage-earner is 
in the position of a bondholder. 

' ' The employer is in the position of the shareholder. 

"The former takes no risk and takes the smaller 
slice of the income. He gets his whether anybody 
else gets anything or not; but he does not share in 
the profits, if they come. 

"The latter takes all the risk and expends extra 



12 ESTIMATES, COSTS AND PROFITS 

brain-power. He gets nothing if there are no profits. 
It is right that he should get the dividends, when they 
arrive. 

' ' So far, every painting contractor will agree. Now 
we shall say something with which not all of our 
readers will agree. 

''Pay yourself what others would pay you. Every 
painting contractor should not only get the legitimate 
profits of his business, but should also pay to himself 
a share of the legitimate expenses of the business before 
profits are figured. In other words, the 'boss' should 
have wages as well as the men. 

"The only time a contractor should lose out when 
the salary envelopes are being distributed is when he 
goes to Palm Beach or California for a little rest and 
pays a substitute to run his business. If he works 
with his hands he certainly deserves wages; or if he 
supervises the other workers he certainly should have 
a salary for that. 

' ' Who says we wouldn 't agree to that ? ' ' says some 
one. 

"Well, we heard a pretty big contracting painter 
say, at a recent convention of master painters, that he 
never charged anything up to the business for his 
own time or supervision. He simply took what was 
left after labor and materials were paid for. 

' ' If as big a man as he is ignores such a simple and 
vital business principle, we rather imagine there may 
be others. 

"You are boss and employee — both. In order to 
get yourself to thinking straight on this fundamental 
matter, it is a good idea to regard your business as a 
firm or corporation and yourself as its employee — its 
hired manager. 



COUNT THE COST 13 

''Supposing your business should grow to many 
times its present size, and, needing capital, suppos- 
ing you should sell forty per cent of the stocks to out- 
siders. You certainly would then insist on paying 
yourself a salary as manager before you allowed the 
stockholders, who put no time in the business, to share 
in the proceeds. 

''The principle is the same if you happen to own 
all the stock. You, as manager, should receive your 
salary before you, as stockholder, get your dividends. 

"Then there is the competition side of it — competi- 
tion for your services — for your money. As president 
and general manager, you certainly should expect your 
own corporation to pay you just as large a salary as 
you can make by working for somebody else, and as 
stockholder in your company, you expect the corpo- 
ration to pay you at least six per cent interest on 
the money you have invested. 

"No other business could hire you without salary. 
If your business, as it now stands, is not able to pay 
you the salary that you could get from another con- 
cern, and if it is not sufficiently profitable to pay you 
a satisfactory return on the money you have invested, 
then certainly there is something wrong and you could 
make more money by actually working for somebody 
else and investing your money in real estate, some 
good, solid preferred stock, or bonds. 

"No other business could rent your building for 
nothing. Next comes the similar necessity of charg- 
ing the business with a proper rental for any property 
you own and which you use in your business. If you 
did not own it you would have to pay the rent, there- 
fore the business is not earning its way unless it can 
pay you its rent. Or, reversing the thing, as we did 



li ESTIMATES, COSTS AND PROFITS 

before, if your business cannot pay its rent, better 
rent the building to some one who can and pocket the 
money. 

"There is just one more question to answer. You 
may say: 'But you do not understand competition 
in this town. If I should charge up in my estimates 
something for my salary and something for rental of 
the building I own, my prices would be so high that 
the other fellows would get all the business.' 

"Doing business for fun. It is very true that this 
condition often exists, and this is the answer : First, 
always figure in every item of cost there is, including 
your salary, rent of the building you own, and other 
overhead; then add a proper profit. The total is the 
amount you ought to get for the job if your business 
is to make money. If then you have to make a bid 
lower than that sum, you will at least know that you 
are making no money as a contractor, but are doing 
business for the fun of it or for philanthropy. You 
will be doing it with your eyes open to the facts, while 
now you may think you are making money when as 
a matter of fact you are making only day's wages 
and donating the use of your capital to your fellow 
citizens. Moreover, when you once get to thinking 
about it in this correct way, it will not be long till 
you will try to get your fellow contractors to figure on 
the right basis. You will try to get them to make 
estimates by which you all can make a salary plus a 
reasonable interest, at least, on investment." 



CHAPTER II 

FIGURING THE COST OF A JOB 

Every job is worth all it costs — and a profit. In 
making up an estimate to submit for any kind of ex- 
terior or interior painting and decorating it should 
be divided into four sections — Material Cost, Labor 
Cost, Overhead Expense and Profit. 

SECTION 1. — MATERIAL COST 

Each pound and gallon of material and every new 
tool completely used on a job should be charged 
against that job. The charge should be made on your 
record as the material leaves the shop. Material not 
used and returned may then be credited back. New 
tools not completely used on any one job ought not 
to be charged against the job at all, but rather in- 
cluded in a separate record of all miscellaneous costs 
called an Overhead Expense Account. Even such 
small items as sandpaper, steel wool, soap, starch, 
flour, glue, putty, etc., are important and should be 
recorded as well as your lead, oil, varnish, stain, wall- 
paper, shellac, colors, bronzes and such of the larger 
material costs. 

SECTION 2. — LABOR COST 

A job should be charged only with direct labor — 
that is the labor directly consumed on that job alone 
and not v/ith any part of the wages of shop man, 
teamster or truck driver, clerk or others indirectly 

15 



16 ESTIMATES, COSTS AND PROFITS 

employed, because their efforts apply on and assist 
the execution of other jobs going on at the same time. 
Indirect labor of this kind ought to be charged aga^ist 
overhead expenses and thus passed on to be distrib- 
uted among many jobs. These many jobs will be 
future rather than present contracts, to be sure, but 
present contracts are, or should be, charged with the 
overhead expenses of past jobs completed if your es- 
timates and prices were equitably and correctly 
figured. 

The time or labor of the contractor or employer is 
not charged against any one job unless he works on 
the job as a journeyman. 

The contractor's time for superintending the job 
is paid for in profit. — See Section No. 5. Contractor 's 
time, when he works on the job as a journeyman, 
should be charged against that particular job at the 
same rate, he would have to pay any other journeyman 
equally competent to do the work. In this instance 
he would get the profit included in his estimate for 
superintending the job, for interest on his money tied 
up in equipment and for the risk assumed, employers ' 
liability. He would also get wages as a journeyman. 

In handling a large business the employer should 
draw out of the business each week or month a salary 
as compensation for the work of managing the busi- 
ness. Then the profit which accumulates at the end 
of the year will be compensation for the use of his 
money tied up in equipment, materials, etc., and for 
the risk assumed. 

SECTION 3. — OVERHEAD EXPENSES 

Every expense of conducting your business that can- 
not he directly charged to one joh or another is an 



FIGURING THE COST OP A JOB 17 

overhead expense. For instance, when you buy five 
bales of hay for the horse or gasoline for the truck 
you cannot, charge the outlay of money against Bill 
Jones' house which you happen to be painting, because 
the horse and wagon or the auto truck was used to 
haul the material. The transportation equipment was 
used on dozens of jobs during the season. The ex- 
pense of maintaining your cartage facilities must be 
divided among all the jobs done. If, however, you 
hire an expressman who charges $2.00 to haul your 
material to and from the Jones' job, that $2.00 is not 
an overhead expense but a direct charge to be made 
against the Jones' job. 

If you are among those contractors who, to get the 
cost of a job, merely add together the material and 
labor costs and then count everything else as profit, 
you ought to climb out of that rut at once. It keeps 
a man poor. 

Overhead expenses are legitimate and just as nec- 
essary as material and labor charges. Either you 
must pay them out of your profits or charge them to 
your customers by adding a certain amount of money 
to each estimate. As long as you are conducting busi- 
ness for profit the second method of paying these 
expenses is correct. When your wagon, tools or equip- 
ment wear out you will then have saved enough money 
to replace them, if you have conscientiously added to 
the estimate for each job a small amount in anticipa- 
tion of this time. If you have not made this charge 
on each job you must buy the new equipment out of 
savings you thought were clear profit laid up for a 
rainy day. 

Now that you see the necessity for making your cus- 
tomers pay the indirect, miscellaneous expenses of 



18 ESTIMATES, COSTS AND PROFITS 

carrying on your business just how are you going to 
do it ? If you have a record of all of these little ex- 
penses for the past six months or year, as you should 
have, the total is your overhead expense for the period. 
You have paid the money out. How can you get it 
back ? The ideal way would be to divide this sum of 
money between all customers whose jobs were done 
during the period for which the expenses were in- 
curred. But you cannot do it. The customers have 
already paid for their jobs and would not pay a second 
charge. On the other hand, you didn't know what 
the overhead expenses for that period would be until 
the time had passed. Then it was too late to divide 
these miscellaneous expenses between the jobs which 
caused them. This same condition exists in most lines 
of business and it is handled this way. The overhead 
expenses of last year or of the last six months are di- 
vided among the customers of today and that works 
out fairly to all on an average. There are several 
ways to divide this lump sum of your overhead ex- 
X^enses among customers. We will illustrate the older 
method first and the latest, simplest and best last : 

What amount, then, should be added to each esti- 
mate for overhead expenses ? 

Suppose, for example, you completed 40 contracts 
last year. Each one brought you $75.00. The total 
amount of money you received then was $3,000.00. 

Out of this $3,000.00 you paid : 

750.00 for Material. 
1,500.00 for Labor. 
200.00 for Overhead Expenses. 
550.00 was Profit. 

$3,000.00 



FIGURING THE COST OF A JOB 19 

Now, to find out how much, or what percentage to 
add to each estimate during the coming year, divide 
the total amount of money received for all work by 
the amount paid for overhead expenses — the expense 
of conducting your business. In the example it would 
figure this way: 

3000)200 00 (.066 

To each and every estimate you submit in the future 
then add 6% of the cost of labor and material. For 
instance : 

If material cost is $30.00 

And the labor cost is 60.00 

Total $90.00 

Add 6% 5.40 

Total cost $95.40 

To this figure you must add a certain amount also 
for profit before your estimate is complete. See Sec- 
tion 5. 

A contractor who has no record of the previous 
j^ear's business from which to figure what amount to 
add to his estimates for overhead expense must esti- 
mate as nearly as possible the number of jobs done, 
the amount of money received and the other odd ex- 
penses to figure on, or else take 15% or 20% as cor- 
rect for the first year. 

The Association of Master Painters (the con- 
tractors) of the city of Washington, D. C, made a 
study not long ago of the business of twelve different 
paint contractors in that city for the purpose of estab- 
lishing a standard or uniform method for making up 



20 ESTIMATES, COSTS AND PROFITS 

estimates and, more particularly, to determine what 
amount should be added to each estimate for over- 
head expense. The volume of business done by these 
contractors ranged from $6,000 to $60,000 gross per 
year in round numbers. The average amount of busi- 
ness for the twelve contractors was $16,244.00. The 
conclusion reached by the association was that in their 
city it costs 15% to do business, or, to be exact, 14.3%. 
In other words, to get the real cost of a job they 
must add to the labor and material costs 15% of those 
amounts for overhead expense. Then the profit is to 
be added. 

This 15% is given as an average amount for the 
city. In some cases it may be too small. On small 
repair work 20% and even 30% is sometimes charged, 
while on a large contract, of $25,000 for instance, 
15% is too much. As stated, 15% to 20% will be 
found a pretty good average for normal years. Costs 
of all kinds for 1917-1918 are so high that a higher 
rate may be advisable, 

SECTION 4. OTHER METHODS OF FIGURING 

Overhead, profit, labor and material charges are 
sometimes figured on the basis of the selling price or 
the final figure on the estimate rather than on the 
basis of actual material and labor costs as shown 
before. While this method is sometimes used the first 
one given is simple and just as effective- 
Taking the same figures used in the other example 
the calculation would work out this way; 

Forty contracts at $75.00 each would bring a gratis 
volume of business amounting to $3^000. 



FIGURING THE COST OP A JOB 21 

For Material you paid out of this $ 750.00 

For Labor you paid out of this 1,500.00 

For Overhead you paid out of this 200.00 

Net Profit was 550.00 

$3,000.00 

The difference in the two methods begins here. Add 
together the material cost and the labor cost : 

$ 750.00 
1,500.00 

$2,250.00 

Next divide this $2,250.00 by the gross volume of 
business— $3,000.00. 

3000)2250.00(75% 

By this we find that the labor and material costs for 
the previous year were 75% of the total amount of 
business done — the total amount of money taken in 
on contracts as shown by the cash book. 

Next find what part or percentage of the total vol- 
ume of business the overhead expense represents by 
dividing $200 by $3,000.00. 

3000) 200.00 (.0666 

Overhead expense figures a little over .0666+, but 
for the sake of dealing with round numbers cut off the 
fraction and call it even 7%. 

Now figure what percentage of the gross receipts the 
profit was by dividing the profit — $550 — ^by $3,000. 

3000) 550.00 (.1833 

The profit was a little over .1833-|- ; call it 18% even. 



22 ESTIMATES, COSTS AND TROFITS 

The year's operations would then divide up as fol- 
lows: 

Material and Labor Costs 75% $2,250 

Overhead Expense 7% 210 

Profit 18% 540 

100% $3,000 

Taking it for granted that you will be satisfied with 
the same profit this year as was realized last year — 
18% — and that the overhead expense will remain the 
same, it is quite simple to figure the price to charge 
for each job this year. 

To find this price to quote (the price that will in- 
clude your 18% profit and 7% overhead), divide the 
material and labor cost for any job (which represents 
75% of the selling price according to our figures for 
last year's business) by 75% and the result will be 
the price to charge. 

To illustrate, let us say that the costs on a certain 
job are $200 for labor and $100 for material, making 
$300 for both. 

Then to find the price to quote on the job divide 
the labor and material cost by .75, thus : 

.75)300.00(400 

$400 is the price. 

It can be proved that $400.00 is the correct price to 
include the costs and a profit in this way. 

Out of this price of $400.00 must come : 

7% for overhead expense, which is. .$ 28.00 
18% for profit, which is 72.00 

$100.00 

From the price of $400.00 then subtract the sum of 
the profit wanted and the overhead expense, which 



FIGURING THE COST OP A JOB 23 

equals $100.00, and the balance of $300.00 is the nec- 
essary amount to cover the material and labor costs. 
The divisioti of the price would then be : 

Material and labor costs 75% =$300.00 

Overhead expense 7%^ 28.00 

Profit 18% -= 72.00 

Total $400.00 

What is undoubtedly the best and most simple 
method of distributing overhead expenses among cus- 
tomers has been worked out and given to the trade by 
Mr. A. H. McGhan, Secretary of the International 
Association of Master House Painters and Decorators. 
He is a man of large practical experience in contract- 
ing work and is in position to know whereof he speaks. 
His method follows, including a reprint of his form 
for determining the share of overhead cost to be in- 
cluded in each price given to a customer. 

The central idea is that the overhead charges should 
be distributed on the basis of the element of cost in 
your business which is subject to the least fluctuations. 
That element is the labor cost per day or hour. The 
labor rate changes less often than material prices. 
Study the following form carefully, fill it out as ac- 
curately as you can from your records and you will 
then understand the method. It is the most simple 
yet offered and is just as equitable and practical for 
the small job as the large, for repair work, exterior 
painting or interior decorating. The amount of your 
overhead expenses to be paid by any one job depends 
upon the number of hours labor required (not on the 
material costs which vary greatly with different jobs) 
and it doesn't matter what kind of work the men are 
doing. 



24 



ESTIMATES, COSTS AND PROFITS 



Find out what your overhead expense is. If you can't get 
exact figures from your books, estimate them as closely as pos- 
sible and keep a record hereafter. 



Every dollar that you spend in your business miust 
be charged either directly to some job or to your 
Overhead Expenses and pro-rated against each 
job as a part of your ''Cost of Labor." 

Eent (oflBice or shop or both. If you own your shop 
or office, what would it rent for?) 

Boy or clerk (if none are employed, approximate loss 
of time of men doing what a shop boy would do if 
employed) 

Office expenses (include printing, postage, and the 
many small expenses that occur in the smallest 
office) 

Advertising (include what you pay for advertising 
in newspapers, programmes, or for circulars, signs 
or advertising of any kind whatever, including As- 
sociation dues, or membership payments in business 
organizations) 

Telephone (include the Telephone Company's regular 
charge, and approximate the outside cost to you of 
telephone messages, telegrams, or messenger 
service) 

Drayage (if you keep a horse or automobile, include 

cost of upkeep and depreciation. Add additional 

■ drayage that your team or automobile does not 

handle. Approximate car fare for the men.) . . 

Insurance (Liability and fire) 

Lost accounts (include bad debts or what you may 
have lost by failure or cost of suits at law, or cost 
of collection you may have had) 

General expenses (cost of anything which you cannot 
charge to any one job, such as cost of brushes, 
drop cloths, burners, ladders, ropes, paint pots, 
sponges, tools, and other necessary shop appliances) 

Total overhead cost past year 

Total hours labor employed past year 



By 

Week 

or 
Month 



Total 

for 

Yeax 



Use the hour's labor as the unit, and arid to it your overhead. 

Divide the amount of money spent for overhead charges during 
the past year by the number of hours of labor employed and you 
will get the amount of money which must be added to each hour's 
labor. For example : 

Suppose your overhead expenses for the year were $576. You 
emploved labor for the year to the extent of 8,840 hours. Divide 
.$570 by 3,840 and you have 15. Now, if your wage scale to painters 
is 50c per hour, you should add to that 15c and figure the labor 
cost of every job at 65c per hour in order to include your over- 
head expense. 



FIGURING THE COST OF A JOB 



25 



No 

Name 

Address 

Description of Property 
Work to be done 



ESTIMATE BLANK 
Date 



19. 



No. sq. ft. outside No. sq. ft. inside. 

Color Scheme — Body Trim , 

Condition of Surface 



MATEEIAL COST— 

. . . .lbs. white lead 
.... gals, linseed oil 
.... gals, turpentine 
.... pts. drier 
. . . .lbs. color 
.... gals, varnish 



LABOR COST, 
OVERHEAD EXPENSE, 
PROFIT, 

Price to Customer 



at 
at 
at 
at 
at 
at 
at 
at 
at 



Total 



$. 



.hours at cents, 

add. . . .percent — 15?- 
add. . . .percent — 25?- 



Tear off here 

Date 



19. 



Mr. 



I will do the painting — or decorating- 
and pure linseed oil on your property 

No Street 

as follows : 



-using pure white lead 



for the sum of $ 

The materials to be used will be of the highest quality, the 
workmanship will be of the best, with special care taken to 
insure neatness and order throughout the job. 

SIGNED 

ADDRESS 



26 ESTIMATES, COSTS AND PROFITS 

SECTION 5. PROFIT 

After the Material Cost, Labor Cost and Overhead 
Expense have been figured it is necessary to add to 
the sum of these figures an amount for Profit before 
submitting an estimate or price to the customer. Just 
how much to add for profit must be decided by you. 
In the building trades, the general contractor in Chi- 
cago suburbs is satisfied to figure actual cost and then 
add ten percent of this for profit. His contracts av- 
erage to run higher in money than do the painter's, 
and so a smaller percentage will give him a good profit. 
"With paint contractors in various sections of the coun- 
try the profit added to actual cost ranges from ten to 
thirty percent and fifty percent in some cases, ac- 
cording to the kind of work. Small odd jobs, repairs 
and such should carry a higher percentage of profit 
than a large contract. Probably the addition of twenty 
to twenty-five percent for profit is a good average for 
general work. 



CHAPTER III 
JOB EECOEDS 

Standard bookkeeping methods are quite as suc- 
cessful and useful for recording the business transac- 
tions of contracting painters as for other lines of busi- 
ness, but there is a practical limitation which prevents 
the painter from using them. In the first place the 
nature of his business keeps him on the jump from 
job to job ; he has precious little time for bookkeeping, 
as necessary as it is. Furthermore, he is usually a 
man of mechanical skill and not office trained. The 
combination of these circumstances makes it useless 
in this day of hustle to expect the painter-contractor 
to devote more than a minimum of time to office work, 
even though it is vitally important to the success of 
his business. It is a good plan, then, to forget all 
about ^'bookkeeping," ''accounting," "cost-finding" 
and the like conceptions. Come down to just plain job 
records. Success will come to the contractor who lays 
out for himself a record system which will require the 
least attention and at the same time one which will 
give all necessary information about the business on 
the day of reckoning to find out where he stands. He 
will succeed because he will keep up the simple record 
from day to day when he would not keep up a com- 
plicated one. 

Any record system which doesn't give a complete 
actual cost of each and every job is at fault. At the 
end of a year you have made profits or losses exactly 

27 



28 



ESTIMATES, COSTS AND PROFITS 
JOB RECORD 



No. 



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PRICE GIVEN 



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Max 



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ENDORSED BY THE ILLINOIS MASTER PAINTERS ASSOCIATION. 

Thes« blanks sold at cost by 

Carter While Lead Co., Chicago. 



JOB RECORDS 



29 



COST OF MATERIALS USED 






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COST OF LABOR 



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Paiplers on Job 



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1 7 J. ... fp 

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to cover ovi-ihead 

MISCELLANEOUS COST 



Totar . ./.^^ij. -Hours ai j. s) ■ ■■• fpCT hour 

Make Ihe rale per hour rnoueh higher 
than «cloil wact ickle to cover ovf-rhead 



31 



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Jo 

\x\\\%x 



30 ESTIMATES, COSTS AND PROFITS 

in proportion to the profit or loss on each. job. The 
individual job is the unit to work from. Keep a rec- 
ord of the profit or loss on every job, pay everything 
by check, make your check stubs balance with the bank 
every month and you have done all of the record 
keeping necessary for the average contractor. The 
larger business will, of course, need a stock material 
record and perhaps a time-keeping book, etc. 

Now then, just what is the best way to keep a rec- 
ord of each individual job so as to show the profit 
or loss ? There are many card and book systems which 
have been successful. The most simple method and 
without a doubt the best yet is the Job Record En- 
velope designed by the Carter White Lead Co.* The 
record is a pocket size (41/2x1014 inches), tough 
manila envelope open at one end and ruled and printed 
on both sides like the illustration shown here, already 
filled out with the record of one job. A study of these 
two forms will show that there is a place provided for 
every usual expense" on a job. All papers, memo- 
randums, time cards, etc., referring to the job can 
be kept inside of the envelope. One envelope is filled 
out for every job undertaken. While the work is in 
progress the envelope can be carried in the pocket or 
left on the desk. When the job has been completed 
and the bill paid the envelope can be filed away in a 
desk drawer or a box, out of the w^ay, but where it 
can be found quickly if needed. 



* To have a local printer make up the small number of these 
envelopes needed by the average painter would be quite expensive 
because of the type and rule setting. This difficulty has been 
cleared away, however, by the generosity of the Carter White 
Lead Co. These forms have been electrotyped by them and many 
thousands have been printed. The envelopes are being sold at cost 
which is at the rate of sixty cents per hundred in any quantity 
needed. 



' JOB RECORDS 31 



Below are printed the instructions for using the 
Job Record sent out with each lot of envelopes : 

Use a separate envelope for each job. Do not try 
to keep two or three different jobs, even if for the 
same customer, in one envelope. 

The envelope is designed for filing, both while the 
job is in progress and permanently later, every scrap 
of paper such as time slips, memorandums, etc., that 
refer to a job, as well as for figuring cost and profit. 
It may be carried in the pocket and used for original 
entries or kept in your, desk drawer or filing cabinet 
as an office record. 

Before commencing work, enter under *' Estimate 
Covers" everything that you have contracted to do. 
If you did not give the customer a written estimate, 
have him 0. K. the envelope. Then there will be no 
misunderstanding as to the price or what are extras. 
The profit on a great many jobs has been thrown 
away by doing work not provided for in the estimate 
and failing to charge for it. 

Keep a memorandum of all material sent to the 
job. Deduct what is returned and then make up 
* ' Cost of Materials Used, ' ' figured at current market 
prices. 

Cost of Labor may be entered directly on the en- 
velope each day or from daily time slips if your work- 
men use them. Be sure to figure in all the time for 
which you pay, the mixing of paint, matching colors, 
staging, etc., and make the rate per hour high enough 
to cover both actual wages and overhead expense. In- 
clude any of your own time that was spent working 
on the job at the same wages you would have to pay 
anyone else for doing the same work. If you can't 
get a profit over and above regular wages, you are 



32 ESTIMATES, COSTS AND PROFITS 

losing money contracting and you will make more 
working as a journeyman. 

Under ' ' Miscellaneous Cost, ' ' include all expense di- 
rectly incurred on a job outside of materials and la- 
bor, as, for instance, rent or cost of scaffolding or any 
special equipment ; cost of any plastering or carpenter 
work that will be included in your bill. 

Show as "Net Profit" or "Loss" on the envelope 
the difference between "Total Cost" and "Charge 
to Customer," or, if working on time and material 
basis, the percentage of profit that was agreed upon. 

Pencil figures on these envelopes are likely to smut 
and become indistinct if carried in the pocket. Start 
the record, including details of the estimate, in ink. 
Make subsequent entries in ink or indelible pencil as 
far as possible. A hard lead pencil will not smut as 
badly as a soft one. 

Have some permanent place for filing these en- 
velopes away when the jobs are completed. Total the 
Net Profits at the end of the year and see how they 
compare with what you have drawn out of the busi- 
ness. 



CHAPTER IV 

MAKING AN ESTIMATE FOR EXTEEIOR PAINTING 

There are almost as many methods for estimating as 
there are contractors who estimate. The method used 
in the example to follow is probably the most simple 
one that is accurate. 

Contractors who have been making estimates for 
years have usually reduced their systems to a few 
simple rules which they carry in mind. They can 
look a building over, measure it roughly and tell you 
it will take a man six days to first coat it and four 
days to finish it. They figure that a job containing 
4,125 sq. ft., for instance, is 40 squares of 100 feet 
each. They have learned by long experience in the 
locality that the Labor and Material Costs, the Over- 
head Expense and Profit on past jobs amounted to a 
certain figure per square; let us say $1.50 per square 
for two coats and $2.00 per square for three coats. 
To give an estimate these contractors simply multiply 
the 40 squares by $1.50, if the house is to have two 
coats, and give the owner an estimate or bid right on 
tjie spot amounting to $60.00. (1917 Chicago prices 
vary from $2.50 to $3.00 per square for three coats.) 

Such a practice is not the best, even if it were 
possible for the contractor without much experience 
to follow it. The contractors who by their long ex- 
perience are able to estimate as described are invari- 
ably men who are hard pressed for time, men who 
visit and inspect dozens of jobs per day. However 

33 



34 ESTIMATES, COSTS AND PROFITS 

justified they may be in adopting the short method 
to save themselves and handle a large volume of 
work, the fact remains that tlie method does not 
provide accurate figures for the file, checking invoices, 
sending bills and for future reference as to the amount 
of materials and labor needed for each job. The note- 
book carried by the contractor is saved usually, but 
until full it is always in his pocket and inaccessible 
to clerks or those running his office. (The job record 
given in Chapter III will overcome this difficulty.) 
And again, each job is, in a sense, figured twice, once 
when the estimate is given and again when the bill 
is made out, or at least the surface must be figured 
over again to know how much materials to send out 
to the job. Both times require the personal attention 
of the contractor himself, whereas if he had filled out 
a printed estimate blank when he first looked at the 
job and then turned it over to his clerk a permanent 
record would be on file from which instructions to 
the foreman, the bill of materials and the bill to the 
customer could be made out. The time sheets of the 
men and invoices for materials could also be checked 
here and any discrepancy noted either in cost or 
amount of material and labor. The contractor him- 
self would not be required to give so much of his own 
time to details which a clerk could do just as well 
under a proper system. More time is required to 
make out the estimate blank than to figure in a note- 
book, but the advantage of having an accurate record 
of the cost, or the estimated cost, of each job is con- 
siderable and you also know the amount of profit on 
each job. 

Figure 1 is an average house both in size and shape. 
It is thought that the best way to make an estimating 



MAKING ESTIMATE FOR EXTERIOR PAINTING 



35 



method clear in words is to actually submit an esti- 
mate for painting the house shown. The method 
would be substantially the same for any building 
anywhere, but m-aterial and labor prices would 
necessarily be changed to accord with local condi- 
tions. 




Figure 1, 



-An Average House Used as Basis of an 
Estimate for Painting. 



SECTION 6. — MEASURING SURFACE FROM THE BUILDING 

The Body. — Starting at the nearest cor- 
ner measure completely around the main 
body of the house with a tape line, ex- 
cluding porches, but include the rear addi- 
tion. Write down on your estimate blank 



36 ESTIMATES, COSTS AND PROFITS 

or notebook the length of the first side — 
24 feet, the length of the addition — 8 feet, 
the width of the rear end of the house — 
22 ft., the length of the opposite side — 24 
ft., length of the addition — 8 ft., and the 
width of the front— 22 ft. Then add to- 
gether, 24+8+22+24+8+22^108 ft. 
aroand the house. 

Now measure the height of the corners to 
the eaves, using a long pole — a fishpole 
with a hook on the end is good, to fasten 
your tape line to and reach the top. This 
height will be 20 feet for the house shown. 

To calculate the number of square feet 
in this main portion of the house multiply 
the circumference — 108 ft. by the height — 
20 ft : 108X20= : . .2,160 sq. ft. 

It will be seen that no reduction has been 
made for window and door openings. Wall 
spaces are usually measured solid, it being 
estimated that the time consumed in cutting 
around sash, frames, etc., is as great as 
would be required in painting a smooth 
surface the size of the opening. If the 
openings are small and numerous, or if 
there are a great many small lights to be 
cut around, an additional charge of one or 
two cents per square yard is made. 

The Gables. — Next measure the main 
roof gable. Crawl out on the porch roof 
and use the fishpole and tape line. Get the 
distance from the peak or ridge down to 
a point level with the top of the corners 
where the roof joins under the eaves, — it 



MAKING ESTIMATE FOR EXTERIOR PAINTING 



37 



will be 8 feet. We already know that the 
front is 22 feet wide. The number of square 
feet in the gable will be found by multiply- 
ing one-half the height — 8 ft. — by the 
width— 22 ft. 4 ft. X 22 ft.=88 sq. ft. 
for one gable. The two gables then measure 176 sq. ft. 

The Porch Gable measures 4 ft. high 
and the porch is 22 ft. wide : 2 ft. X 22 
ft.= 44sq.ft. 




MEASURE STAIRS 
<. THIS WAY 



The Front Porch. — By measuring the 
front porch with the tape line you will find 
the size to be 10 ft. wide and 22 ft. long. 
The porch floor figures then 10 ft. X 22 
f t.= 220 sq. ft. 

The Porch Ceiling is the same size .... 220 sq. ft. 

The Front Steps measured will be found 
8 ft. wide. To get the measure up and 
down fasten the end of your tape line at the 
edge of the porch floor. Then measure 
down the first riser to the top of the first 
tread, across the tread and down the sec- 
ond rise. Continue to the bottom and your 
total measure will read about 9 ft. The 
square measure then is 8 ft. wide X 9 ft. 
high= 72 sq. ft. 



38 ESTIMATES, COSTS AND PROFITS 

The Side Enclosure of the front steps 
will be found 4% ft. high by 5 ft. long. 

The square measure is 5X^V2= 22sq. ft. 

The tops and ends will measure : 
5 ft. long X 1 ft. wide=5 sq. ft. 
4 ft. high X 1 ft. wide=:4 sq. ft. 

Per enclosure 9 sq. f t. 

Two enclosures 18 sq. ft. 

Front Porch Columns will measure : 1 
ft. X 1 ft. X 7 ft. high=7 sq. ft. per side. 
4 sides at 7 sq. ft. each=28 sq. ft. 3 col- 
umns at 28 sq. ft. each= 84 sq. ft. 

If columns were round they could be meas- 
ured with the tape line stretched around to 
get circumference. Then the reading from 
the tape in inches should be multiplied by 
the height in inches. For example, if a 
round column 10 inches in diameter was 
measured with the tape it would be found 
to be 32 inches in circumference. Then if 
it was 7 ft. high the calculation would be: 

32 in. X 84 in. (7 ft.)=2,688 sq. in. 
1 sq. ft.=144 sq. in. 

Then 2,688 sq. in. ~ 144=18.66+sq. ft. 
Call it 19 sq. ft. per column. 

The Torch Cornice Face. — It will meas- 
ure 1 ft. wide X 51 ft. around= 51 sq. ft. 

The Porch Eaves. — Underside, will meas- 
ure 21/2 ft. X 51 ft.-= 127 sq. ft. 

The Spindles and Porch Rail should be 
figured as a solid flat surface of two sides. 
This will measure 29 ft. long X 3 ft. high 
=87 sq. ft. per side. Two sides= 174 sq. ft. 



MAKING ESTIMATE FOR EXTERIOR PAINTING 39 

The Lattice work below the front porch 
will measure 29 ft. long X 41^ ft. high= 
130 sq. ft. per side. Two sides^ 260 sq. ft. 

The Cornice Face on the main roof will 
be found to measure 12 inches on the face 
and 118 ft. around the house all sides. The 
square measure then is 1 ft. X 118 ft.= 118 sq. ft. 

The Cornice. — Underside or eaves on the 
main roof measure 2% ft. wide, the over- 
hang. The square measure to paint then 
figures 21/4 X 118 ft. around the house= 295 sq. ft. 

The Bear Porch will measure 6 ft. X 8 - 
f t.= 48 sq. f t. 

The Rear Steps measure same as the 
front steps 72 sq. ft. 

4,161 sq. ft. 
It is customary to add 10% of the flat 
surface to the total to allow for the edges 
of siding 416 sq. ft. 

Total amount of surface to paint 4,577 sq. ft. 

SECTION 7. TO FIGURE THE MATERIAL 

How Many Gallons from a Mixf — A 100 lb. keg of 
white lead bulks about 2% gallons. Then if you are 
mixing a batch of paint for old outside work it would 
figure about like this : 

White Lead, 100 lbs = 2% gals. 

Linseed Oil = 41/2 '' 

Turpentine, 1 pt = i/s ** 

Japan Drier, 1 pt .= % '' 

Total 71/2 gals. 



40 ESTIMATES, COSTS AND PROFITS 

How Much Surface Will One Gallon Cover? — The 
number of square feet covered by a gallon differs ac- 
cording to the kind and color of paint, the kind of 
surface, whether the thinner is oil, turpentine or var- 
nish and to what extent it is brushed out. 

A fine pigment will cover more surface than a coarse 
one. An opaque pigment will hide or cover better 
than a semi-transparent pigment. A dark colored 
paint will cover more surface than white and light 
tints. Thin paint covers a greater surface than thick 
but does not hide the surface as well. A gallon of 
any paint will cover less on a soft, porous, dry sur- 
face than on a hard, well-filled surface. By brushing 
it out to the limit any paint will cover more surface 
than when it is simply flowed on or when brushed out 
ordinarily well. 

Careful records made of painting done under ordi- 
nary working conditions with pure white lead and 
linseed oil paint show that the below figures are con- 
servative and form a good basis upon which to fig- 
ure estimates. These figures do not represent the 
amount of surface covered per gallon for the priming 
coat alone, nor for the second coat alone, but rather 
each figure is an average between the two coats and 
includes both working from the ground and from a 
ladder. The proportion" of the surface painted from 
the ground and from the ladder being the same as 
would occur when painting the average house. They 
include also the painting of window and door casings, 
corner boards and such trim as ordinarily occurs on 
the side of a house. 

W eatJierh oar ding . 

White Paint and Light Tints cover about 300 to 
425 sq. ft. per gal., 1 coat. 



MAKING ESTIMATE FOR EXTERIOR PAINTING 41 

Gray, Tan, Buff, Drab, etc., cover about 300 to 500 
sq. ft. per gal., 1 coat. 

Smooth Matched Boards. 

White Paint and Light Tints cover about 500 sq. 
ft. per gal., 1 coat. 

Gray, Tan, Buff, Drab, etc., cover about 660 sq. ft. 
per gal., 1 coat. 

Brick, 

White Paint and Light Tints cover about 225 sq. ft. 
per gal., 1 coat. 

Gray, Tan, Buff, etc., cover about 300 to 700 sq. 
ft. per gal., 1 coat. 

Concrete. 

Concrete surfaces as the forms come off and which 
have not been resurfaced with cement figure same as 
Brick. 

Eough Cast and Stucco surfaces require consider- 
ably more paint : Gray, Tan, Buff, Drab, etc., covers 
about 225 sq. ft. per gal., 1 coat. 



SECTION 8. — TO FIGURE THE LABOR 

What Is a Day's Work? — How much surface will 
an average journeyman coat per hour and in a day 
of 9 hours? A distinction should be made between 
the amount of work a man can do in a contest or if he 
knows he is being recorded and the amount he will 
do day in and day out under average conditions. 



42 ESTIMATES, COSTS AND PROFITS 

Considerable difference exists in the number of 
square yards that will be coated by different journey- 
men in an hour or day. If you will figure the number 
of square yards coated in a day of nine hours by a gang 
of six men, for instance, and divide this number by 
six you are bound to get a fair average amount of 
work one man will do in nine hours. And then the 
number of square yards coated in 9 hours by one 
man divided by 9 will give the number of square 
yards an average journeyman will coat in one hour. 
Or keep a record of the number of square feet one 
man paints on several different jobs, different colors, 
kinds of lumber, weather and such conditions. Then 
add together the total number of square feet on all 
the jobs, also add together the total number of hours 
put in by the one man. Now divide the number of 
square feet by the number of hours and the result 
is the average number of square feet a painter will 
cover per hour. If you have a 9-hour day multiply 
that per-hour figure by 9 and you have the number 
of square feet a man will paint per day on an av- 
erage. 

Unquestionably it is better for each contractor to 
keep a record accurately of his jobs for a while and 
thus be able to establish his own standards, his own 
figures as to what is a day's work under conditions 
in his market than to use figures worked out in any 
other locality. 

In order to give the new contractor some figures 
to start on and at least a fairly accurate basis upon 
which to figure his estimates the below figures are 
given. They are not estimates or guesses, but were 
arrived at in this way. The figures used by nine dif- 
ferent contractors were added together. Some of 



MAKING ESTIMATE FOR EXTERIOR PAINTING 



43 



these contractors do business in towns of about 500 
population, some 10,000 and others in large cities : 

One Contractor figures his men paint 108 sq. ft. per hr., 1 coat 

150 
133 
144 
166 
185 
192 
140 
108 



9)1326(147 sq. ft. 



Dividing 1,326 sq. ft. by 9 (there were 9 contrac- 
tors) we find that the average man employed by all 
probably paints about 147 square feet per hour. 

It should be stated here : 

that no two journeymen will paint the same amount 
of surface per hour or per day, 

that surfaces differ according to the kind and condi- 
tion of the lumber or old paint, 

that a man will cover more surface per hour with 
dark colored paint than with white and light 
tints, 

tha,t the size and quality of the brush has an influ- 
ence, 

that the paint itself has an important bearing — as 
some pigments are coarse, they drag on the brush 
and don't hide the surface or spread easily, 

that paint spreads out more freely and easily in 
warm than in cold weather, 

that a dry, weather-beaten surface is slow to paint, 

that a man will cover more surface working from 
the ground than from a ladder or scaffold. 

But, in spite of all of these differences, it is pos- 
sible and necessary to find an average amount of 



44 ESTIMATES, COSTS AND PROFITS 

surface, as it ordinarily runs, which an average jour- 
neyman will paint per hour and per day. 

The tabulation of figures to follow may be taken 
as reliable and conservative. The work was accom- 
plished under ordinary average conditions by a 
journeyman who is if anything a trifle slow but 
thorough. He was not trying to make a record. A 
4-in. wall brush was used for all work. 

Painting W eatherh oar ding . 

150 sq. ft. per hour, 1 coat Gray, Tan, Cream, etc. 
1,350 '' " '' day of 9 hours. 

Painting Smooth Matched Boards, 

200 sq. ft. per hour, 1 coat Gray, Tan or Cream. 
1,800 '' '' '' day of 9 hours. 

Painting Brick. 

132 sq. ft. per hour, 1 coat light tints. 
1,188 " '' " day of 9 hours. 

Painting Cement. 

Ordinary concrete as it comes from the forms with- 
out having been resurfaced, figure the same as for 
Brick. 

Painting Rough Cast or Cement Stucco. 

110 sq. ft. per hour, 1 coat, light tints. 
990 '* '' " day of 9 hours. 

Painting Difflcidt Surfaces — Extra Labor. — Con- 
sider the difficulty of getting at the work and then 



MAKING ESTIMATE FOR EXTERIOR PAINTING 45 

make an estimate. A third-story cornice is, of course, 
more difficult to paint; it will take more time than a 
first-story. Men will always brush on more paint while 
working on the ground than from staging, ladders 
and scaffolds. Fear of falling and the difficulty of 
reaching part of the surface cut down the number of 
square feet painted per day per man materially. A 
house on a hillside will be slow work because the lad- 
ders slip and must be blocked. 

Having these facts in mind while estimating the 
time required to paint a cornice, for instance, allow 
time and a half for a first-story cornice, double time 
for second story, triple time for third story and so on. 
Consider also that a cornice having many brackets 
and mouldings or considerable carving consumes more 
time in the painting than a plain cornice. 

The following surfaces require extra time if not 
much extra material, and more time should be figured 
for such details than for painting flat surfaces of equal 
area. Estimate or measure the time needed to paint 
the same number of square feet of flat surface as is 
contained in a window blind, for instance. Then when 
figuring time for blinds double or triple the amount 
needed for a flat plain surface, according to how the 
blind is paneled or slatted, which makes painting 
slow. 

You will always find many kinds of odd jobs for 
which there is no set or worked-out plan in estimat- 
ing. Even the below list of common details and sug- 
gestions for the time to allow for each, permit of your 
exercising good judgment according to the exact 
nature of the work. 

First figu^re the following as plain, flat surfaces and 
then add to the time for painting each as suggested: 



46 ESTIMATES, COSTS AND PROFITS 

Allow 

Blinds Double time. 

Shutters Time and one-half. 

>. Double, triple or quad- 
Fancy cornices L ruple if second or third 

J story — hard to reach. 

Mouldings Time and one-half. 

(drills Double or triple time. 

Lattice work Quadruple time. 

-| Time and one-half or dou- 
Brackets I -^^q 

Doors Double time. 

Door and window casings. Time and one-half. 

Window sash, plain Time and one-half. 

Window sash, fancy Double to triple time. 

Porch or stair balustrades,' 

including top and bottom ^Quadruple time. 

rail J 

Columns, fluted Time and one-half. 

Columns, paneled Double time. 

Tin roofs, if seams are to-* -p, i^i .• 

' ^ , , , LDouble time, 
be scraped and washed.] 

Shingle roof Time and one-half. 

Ceilings, wood wainscoting. Time and one-half. 

Ceiling, steel, simple de-| -^^ . . ^. 
. *' LDouble time, 

sign j 

Ceilings, steel, fancy de--, ^^.j^j^ ^j^^^ 

sign .., J 

Ceilings, steel if walls not. ^^ ^.^^_ 

painted at the same time.j ^ 

Stairs Double time. 

Hand rails Double time. 

Steps — treads and risers . . Double time. 



MAKING ESTIMATE FOR EXTERIOR PAINTING 47 

Rain cutters and spouts, 1 t^ , , , 

-,• , -i-rin 1. p I Double to quadruple 
according to dimculty 01 r . ^ ^ 

reaching J 

Steeples, domes, cupolas i 

and towers, according to I Double to six times. 

difficulty of reaching ... J 

Trellis Double or triple time. 

Fences, picket Quadruple time. 

Fences, plain board Double time. 

Time for Setting Stages and Ladders. — More or 
less time is consumed getting things ready to paint. 
Ladders, scaffolds and stages must be set and moved 
around, so an allowance of time must be added also 
to the estimate for this work. You are the best judge 
as to how much time to add. 

Figure in the time for both erecting and taking 
down staging, scaffolds, etc., according to the difficulty 
of the work. 

Time for Mixing Colors. — Where a man is not em- 
ployed to remain at the shop and mix the paint for 
all jobs, the time of the man on the job required to 
do the mixing should be added to the actual time fig- 
ured to coat the surface. The amount of time con- 
sumed to do the mixing differs, of course, according 
to the number of colors to be mixed and the time 
taken by the lady of the house to decide. The task 
will seldom require less than half an hour and will 
range from that to two or three hours. Use your 
judgment as to how much time will be consumed in 
this way on each job. 

Burning and Scraping Scaled Paint. — All prepara- 
tory work of this nature should be day work on the 
time and material basis. The labor or time required 



48 ESTIMATES, COSTS AND PROFITS 

to remove old paint and prepare a surface for repaint- 
ing where the old paint is cracking and scaling can- 
not be even fairly well estimated before the work is 
performed. Certain kinds of paint can be stripped 
off continuously like a banana peel, while the paint on 
other jobs where there have been many coats of hard 
pigment put on from time to time the scraping is 
slow work, as the old coats must be dug off a foot or 
two at a time. On windy days it is difficult to keep 
the surface hot with a torch and the work goes slowly. 
The skill of the mechanic doing the work is also a 
factor to be figured on. There is quite a little knack 
to handling the torch and scraper rapidly. 

Extras. — Make it a point always to ask if the roof, 
blinds, storm sash and doors, screens, fence, barn, 
foundation or other work of this nature is to be painted 
and include in your estimate. 

Burning and scraping off scaled paint, preparing 
such a surface, ought to be considered an extra and 
figured on the time and material basis. 

Your letterhead and other stationery should have 
printed on them at the top or bottom that the above 
items are properly extras and will be charged for as 
such unless mentioned and included in the original 
estimate. 

MAKING UP AN ESTIMATE — EXTERIOR — FOR HOUSE, 

FIGURE 1 

Listing the Material. — By referring back to Section 
No. 6 it will be seen that the surface to be painted on 
this house amounts to 4,577 square feet. It is not a 
new house, so probably two coats of paint would be 
put on. 



MAKING ESTIMATE FOR EXTERIOR PAINTING 49 

The first step is to figure the amount of material 
needed. In Section No. 7 it will be seen that when 
painting weather boarding a gallon of paint usually 
covers about 500 sq. ft., one coat if the color selected 
is about as dark as gray, tan, etc. We will then find 
out how many gallons of paint are needed by dividing 
the number of square feet to be painted (4,577) by 
the amount of surface one gallon of paint may be ex- 
pected to cover (500). 

500)4577(9.15 

We find that a trifle over 9 gallons are needed for 
one coat, or 18 gallons for two coats. 

It should be kept in mind that 100 lbs. of white lead 
will make from* 7 to 10 gallons of paint, according to 
h.o\Y mixed. See Section No. 7. We know then that 
this job will need at least 200 lbs. of lead. Suppose 
it is mixed as follows to make a gray paint: 

200 lbs. white lead 5I/2 gals. 

4 lbs. raw umber 1/2 gal. 

A little lampblack. 

9 gals, linseed oil 9 gals. 

1 gal. turpentine 1 gal. 

16 gals. 

The formula to make the shade of gray selected 
gives us but 16 gallons of paint and we need 18 gal- 
lons. We will add to the formula then about 25 lbs. 
of lead, 1/2 lb. raw umber and 2 gallons of oil, which 
will produce roughly about 21/0 gallons of paint and 
make the total the I8V2 gallons needed. 



50 ESTIMATES, COSTS AND PROFITS 

Other materials needed in addition to that included 
in the formula given are : 

2 lbs. putty, 
1 pt. shellac, 
6 sheets sandpaper. 

Listing the Labor. — The slow or difficult work on 
this house (Figure 1) consists of the details below. 
It will require a longer time to paint these surfaces 
than an equal area of weatherboarding because they 
are hard to get at. Figure extra time for such work 
as per Section No. 8. 

Eaves, front porch^ 127 sq. ft. 

This is a plain cornice. 

Figure time and one-half, 127x 

11/2= 190 '' '' 

Cornice face, front porch= 51 

Figure time and one-half, 51x 

11/2= 76 

Spindles, top and bottom rail on 

front porch= 174 

Figure quadruple time, 174x4=. . 696 

Lattice, front porch^ 260 

Figure triple time, 260x3= 780 

Eaves, main roof= 295 

Figure time and one-half, 295x 

, 11/2= 442 '' '' 

Cornice face, main roof= 118 ** '' 

Figure time and one-half, 118x 

11/2= 177 '' '' 

1,025 2,361 sq.ft. 



il iC 

(I iC 

a n 

it II 



MAKING ESTIMATE FOR EXTERIOR PAINTING 51 

It should be noted now that the figure 1,025 sq. ft. 
is the correct area of surface for all of these details, 
while 2,361 sq. ft. is the area which represents the 
extra time needed to paint these details. In other 
words, the 1,025 sq. ft. of surface are so hard or slow 
to get at that it takes as much time, but not as much 
material, to paint 1,025 sq. ft. so located as it does 
to paint 2,361 sq. ft. of surface easy to get at. 

In Section 8 you will find that an average journey- 
man will paint about 150 sq. ft. per hour, one coat, 
with a gray paint on weather-boarding. To calcu- 
late the total number of hours labor required to paint 
all of these slow or difficult details, we divide the area, 
2,361 sq. ft., by the number of sq. ft. per hour that 
one man may be expected to paint — 150. 

Divide 2,361 sq. ft. by 150 and you have 15.74. A 
little less than 15% hours are needed to paint the 
difficult work on the house. Call it 16 hours. 

The total area of the whole house, including the dif- 
ficult details just figured, is given in Section No. 6 as 
4,577 sq. ft. Before we attempt to figure the labor 
time for painting the house, except the above difficult 
details which we just figured would require 16 hrs. 
to paint, we must deduct the correct area of such de- 
tails (1,025 sq. ft.) from the total — ^that is 4,577 minus 
1,025=3,552 sq. ft. 

We expect a journeyman to paint 150 sq. ft. of this 
surface per hour, one coat. Dividing 3,552 by 150, we 
find that 23.68 hours — call it 24 hours — are needed 
to paint the surface, not including the difficult por- 
tions of the work figured above as requiring 16 hours. 

The time one man would take to paint this house 
one coat then is 16 hours for the slow, difficult work, 
such as the cornice, lattice, etc., and 24 hours for the 



52 ESTIMATES, COSTS AND PROFITS 

body and details not difficult to get at — 16 hours plus 
24 liours=40 hours in all. The house is to have two 
coats, so 80 hours are needed by one man, or 40 hours 
by two men. 

The time to allow for everything about the job 
then is: 

Painting 80 hrs. 

Mixing paint 2 " 

Handling ladders, etc 2 ' ' 

Putty and clean-up 2 " 

Total 86 hrs. 

When it is necessary to burn and scrape off all or 
part of old paint this work should be designated in 
writing as an "extra" at the time your price is given 
to the house owner. To be charged for on the time 
and material basis. You cannot guess or estimate the 
time needed to prepare a surface of this kind. 

THE ESTIMATE COMPLETE EXTERIOR HOUSE, FIGURE 1 

The material, prices and wage scale of 50c per hour 
will, of course, change according to conditions in dif- 
ferent localities, but the method of figuring should 
remain the same anywhere. 

Material Cost 

"White lead, 225 lbs., at 8c a lb $18.00 

Linseed oil, 11 gals., at 70c gal 7.70 

Turpentine, 1 gal., at 60c gal 60 

Colors, 4% lbs. raw sienna, at 22c lb 99 

Putty, 2 lbs., at 3V2e lb 07 

Shellac, 1 pt 25 

Sandpaper, 6 sheets 06 

$27.67 



MAKING ESTIMATE FOR EXTERIOR PAINTING 53 

Labor Cost 

86 hours at 50c per hour $43.00 

Overhead Expense 

Add 15% of material cost $27.67 

Labor cost 43.00 

$70.67 

J5% 

35335 
7067 

$10.6005 $10.60 
Proiit 

Add whatever per cent or amount you 
think you ought to have. For an illus- 
tration we will add as profit 20% of: — 
Material cost $27.67 

Labor cost 43.00 

$70.67 
.20% 

$14.1340 
For profit $14.13 

Price to give house owner $95.40 

SECTION 9. MEASURING SURFACE FROM THE PLANS 

Architects differ more or less in their general re- 
quirements for painting and decorating as set forth 
in specifications. They also vary considerably in the 
language used to specify different finishes and treat- 
ments. 



54 ESTIMATES, COSTS AND PROFITS 

Some specifications and plans are complete in every 
detail — they show or mention everything that is to 
receive the paint contractors' attention; but many 
specifications are not complete. Often the architect 
expects the painter to paint panel backs, storm sash 
and doors, backs of window frames, the under side 
of porch floors, basement store rooms, fruit cupboards, 
etc., not shown on plans nor mentioned in specifica- 
tions. 

The best way for you to proceed, then, is to go 
through the plans and specifications systematically 
and write down in your note book first every detail 
mentioned as your work. Make note of the number 
of coats, the color, kind of material, etc. 

Read over the specifications for the carpenter, 
plumber, millman and others; the plasterer's figures 
may be of help to you. Note in your book on another 
page any painting about the house that must be done 
sometime, but not mentioned as your work. When 
you are sure your notes include everything, ask the 
architect who is to do these other jobs. Ask him also to 
explain any details about your work that were not 
made clear. It is a simple matter to adjust differ- 
ences between your understanding of the specifica- 
tions and his before the work is done, but not so after. 
Extras probably cause more difiiculties to arise be- 
tween painter and architect, owner and general con- 
tractor than any other feature of a contract. Here 
are some of the questions that ought to be clear in your 
mind before beginning the contract : 

Is the roof to be painted? Stained? If so, how 
many coats ? If stained, are the shingles to be dipped 
only, dipped and brush coated, or brush coated only ? 



MAKING ESTIMATE FOR EXTERIOR PAINTING 55 

What kind and color stain? Are you to do the dip- 
ping or will the carpenter contractor do it? How 
about the shingles on the side of the house — gable or 
second story? Are they to be painted or stained? 
Are you expected to do the glazing? Who furnishes 
the glass ? Are there any wood sheds, barns or fences 
to be painted? 

Reading Plans. — Each plan or blue print is drawn 
to scale — that is, each inch, half -inch or quarter-inch 
on the plan represents a foot or stated number of 
feet on the finished building, thus : ^ ' Scale for plans 
and elevations, 1 inch equals 4 feet. Details, 1 inch 
equals 1 foot and 1 inch equals 2 feet or I/2 inch equals 
1 foot." Then, according to the scale (which says 1 
inch equals 4 feet) you would multiply 2i/4x4, which 
amounts to 9. The side wall or corner then is 9 feet 
high up to the point where the roof joins the corner. 

The method used on plans to indicate feet and inches 
must be watched carefully, as an expensive error may 
easily be made by mistaking feet for inches. 

Ten feet would be indicated thus : 10'. 

Ten inches would be indicated thus : 10''. 
A measurement reading 16' 0" x 1' 4" means 16 feet 
and no inches by 1 foot and four inches. 

Painters often designate the measure of a surface as 
so many ^'Squares." A square equals a space 10x10 
feet or 100 square feet. 

A square yard equals a space 3x3 or 9 square feet. 

A square foot, 12x12 inches, equals 144 square 
inches. 

The area of any flat surface to be painted is found 
by multiplying the height in feet by the width in 
feet. The result is square feet. 



56 ESTIMATES, COSTS AND PROFITS 

TAKING OFF THE QUANTITIES 

Plans shown in Figures 2 and 3. 

The Body. — Looking at floor plan Figure 
2 it will be seen that the building is 38 ft., 
6 in. long and 38 ft., 6 in. wide. The dis- 
tance around the house measures : 

One side 381/2 ft. 

One side 381/2 ft. 

Front 381/2 ft. 

Back 381/2 ft. 

Around the house .... 154 ft. 

Now measure the right-hand corner on 
the side elevation. Figure 3, and it will 
show 2^ in. high to where the roof joins. 
The scale shown on the plan says 1 in. 
equals 4 ft., so 214x4=9 ft. high. 

The side walls, the rear and front meas- 
ure 154 ft. around and 9 ft. high. The 
square measure th^en is 9x154= 1,386 sq. ft. 

The Gables on the side elevations. ''To 
figure the area of any gable, multiply the 
width by one-half the height." For the 
plan we are figuring the length of the house 
from corner to corner will be the base or 
width of the gables — the floor plan. Figure 
2, shows this measure to be 38% ft. To 
get the height of the gable, place your rule 
across the plan parallel to the floor line on 
the side elevation, Figure 3, but at the top 
of the corners where they join the roof. 
Draw a light pencil line there. Now lift 



MAKING ESTIMATE FOR EXTERIOR PAINTING 57 




Figure 2. — Floor Plan. Scale : 1 inch=:4 feet, ^ incli=l foot. 
Walls : Outside, 1 foot thick. Inside, 6 inches. 




Figure 3. — Side Elevation. Scale : 1 inch=4 feet. 



58 ESTIMATES, COSTS AND PROFITS 

the rule and measure from the ridge pole 
down to the pencil line just made. You 
will find that it is just 2 inches. Accord- 
ing- to the scale on the plan then (1 in. 
equals 4 ft.) the height of gable is 2x4= 
8 ft. 

Now the formula given to get the area 
of a gable says multiply the width, 881/2 
ft., by one-half the height, 8 ft. The cal- 




MEASURINC CABLBS 
MULTIPLY THE 
WIDTH BY ONE 

HALF TH£ HEIGHT 



culation then is 381/2x4=154 sq. ft. There 
are two gables, one on each side, so we must 

multiply 154x2= 308 sq. ft. 

The Roof Cornice Facing. — The side ele- 
vation. Figure 3, shows the cornice to be 
2 in. thick and 10 in. wide. Add these 
figures, 10-|-2=12 in. Now measure the 
length of this cornice from one end up to 
the ridge and down to the other end, and 
you will find that it is 121/4 in- long- Using 
the scale again — (1 in. equals 4 ft.) to 
find the length of the cornice in feet, mul- 
tiply 1214x4=49 ft. The plan shows that 
the width and thickness of the cornice are 
10 in. and 2 in., which makes the equiva- 
lent of a board 12 inches or one foot wide 
to paint. The square measure on the cor- 



MAKING ESTIMATE FOR EXTERIOR PAINTING 59 

nice then is 1 ft. wide x 49 ft. long=49 sq. 
ft. There is another cornice on the other 
side of the house, so we must multiply 49 
sq. ft. by 2= 98 sq. ft. 

The Eaves or underside of the roof cor- 
nice, according to Figure 3, overhangs % 
of an inch. The scale on the plan says 1 
in. equals 4 ft., so % i^- uaust equal 1 ft. 
The eaves then overhang 3 ft. — they are 3 
ft. wide. Measuring the roof on Figure 3 
from the front to the rear over the ridge, 
our rule reads 11% in., which figures — 
(1 in. equals 4 ft., 14 i^^- equals 1 ft.) 
Il%x4=47 ft. long. The underside of the 
eaves is 2 ft. less than the cornice facing. 

We figured above that the eaves are 3 ft. 
wide, so to get the number of square feet 
in one side we now multiply 47 ft. long x 3 
ft. wide=141 sq. ft. There are two sides 
the same size, so we multiply 141 sq. ft. 
x 2= 282 sq. ft. 

Figure 4 measures across the roof 10% 
in. 10% in. equals 43 ft. on the scale. The 
eaves in the front and rear overhang the 
same measure as the sides — 3 ft. The 
square measure then is 43 ft. x 3 ft.=129 
sq. ft. Multiply this by 2 for front and 
rear and we have 2x129= 258 sq. ft. 

The Ridge Boards on the peak of the 
roof, measured with the rule, show 10% 
in. long on the plan which figures accord- 
ing to scale 43 ft. The width of the boards 
does not show sufficiently to measure on 
the plan, but they are probably 6 in. wide 



60 



ESTIMATES, COSTS AND PROFITS 



on each side of the ridge, which makes a 

surface to be painted of 1 ft. x 43 ft.= 43 sq. ft. 

The Front Porch. — Figure 2 shows the 
floor to be 8 ft. wide and SSi/'o ft. long. 
The square measure then is 381/2x8=. . . . 308 sq. ft. 

The Porch Ceiling is the same size as 
the floor 308 sq. ft. 

The Porch Columns. — Figures 3 and 4 
show that there are 6 columns 8x8 in. 



jSl 



' 2KiitfU< -.- 



V 



u u u u 



u u u u u u 




L l*^;' 



Figure 4. — Front Elevation. 



f 



square. Measuring on the plan with the 
rule, the columns are % of an inch high, 
which (on the scale which says 1 in. equals 
4 ft., and % in. equals 1 ft.) means that 
the columns are 3 ft. high. The columns 
being 8 in. on each side will measure 32 
in. around all four sides; 32 in. is very 
near 3 ft., so call each column 3 ft. around 
and 3 ft. high. The square measure then 
is 3x3=9 sq. ft. for each column. There 

are 6 columns, so multiply 9x6= 54 sq. ft. 

The Front Porch Column Supports or 
pedestals measure on Figures 3 and 4 



MAKING ESTIMATE FOR EXTERIOR PAINTING 61 

about % in. wide and 1 in. high. Trans- 
posing this by the scale given, it figures 
about 21/2 ft. wide by 4 ft. high. 21/2x4= 
10 sq. ft. per side. There are three sides 
( 1 side was included when measuring the 
side of body) =30 sq. ft. for each support. 
There are two supports, so we multiply 
30x2= 60 sq. ft. 

The Frieze Board above running across 
the top of the front porch above the col- 
umns measures 1 ft. wide x 381/2 ft. long. 
The number of square feet then is 1x381/^, 
so we will call it 39 sq. ft. 

The Weather Boarding enclosing the 
space below the front porch floor measures 
in front 1 ft. x 33= 33 sq. ft. 

The side or end boarding was included 
when measuring the sides of the body. 

The Step on Front Porch measures 1x1x8 
ft. and the square measure is= 18 sq. ft. 

The Rear Porch. — Figure 2 shows it to 
be 3i/ox4 ft.= 14sq.ft. 

The Step Tread and Risers are 3^2x1 
ft.=3i/4 sq. ft. each for 1 tread and two 
risers. 3x3%:=10% sq. ft., so call it 11 sq. ft. 

The Two Sills on the porch sides meas- 
ure 1x4^4 sq. ft. each. There are two — 
so multiply 4x2= 8 sq. ft. 

The Rear Porch Rail, — Two pieces 4x4 
in. X 2% ft. high are equal to 1 piece 5 ft, 
long or 60 in. long by 16 in. wide. Then 
16x60^=960 sq. in. 144 sq. in. equal 1 sq. 
ft., so divide 960 by 144 and you get 6 2-3 
sq. ft., so call it 7 sq. ft. 



62 ESTIMATES, COSTS AND PROFITS 

Then the plan shows 4 pieces of 2x4 in. 
x3i/2 ft. long, which are equivalent to one 
piece 14 ft. long. A 2x4 in. piece measures 
12 in. or 1 ft. around all four sides — 2-|-4 
-|-2-f-4=12 in., so you have the equal of a 
surface 1 ft. x 14 ft. to paint. 1x14=. . . . 14 sq.ft. 

3,249 sq. ft. 
Add 10% of the flat surface to allow for the 
edges of the siding of weather boarding . . 324 sq. ft. 

Total surface to paint 3,573 sq. ft. 



CHAPTER V 

MAKING AN ESTIMATE FOR INTEEIOR DECORATING 

Greater care is necessary when figuring interior 
decorating than need be given outside painting, be- 
cause with the great number of different finishes, the 
many kinds of wood now being used for trim and the 
various degrees of workmanship expected it is difficult 
to know just what to figure on. The slap-dash hurry- 
up jobs of real estate and professional builders is 
wanted in some instances, or at least nothing better 
will be paid for, while on other specifications mod- 
erately good to the best of workmanship is required. 
Architects and general contractors are not different 
than other mortals and when they are lax, vague or 
indefinite in their written or verbal specifications, 
make them explain clearly what they expect and get 
it in writing; if they will not write it, you do so. 
Find out before you submit your estimate : 

Who is to bronze the radiators, what materials are 
to be used and how many coats? 

If enamel is specified, is it to be white, ivory or 
some other tint? How many coats, how much and 
what kind of rubbing? Satin or gloss finish? 

What kind of wood trim to be used? 

Who is to do the glazing and who furnishes the 
glass ? 

Is the interior trim to be primed or stained before 
putting up? 

If the cove moulds, chair rail or picture moulds are 

63 



64 ESTIMATES, COSTS AND PROFITS 

to be painted, when, before or after the paper-hanger 
finishes ? 

Any painting in the basement ? 

If walls are to be painted, is canvas or muslin to be 
put on first? Any stencils? 

What, if any, preparatory work, cleaning, surfac- 
ing, etc.? 

There are so many ways to finish interior trim that 
it is really important to learn from the architect, gen- 
eral contractor or owner the exact finished effect ex- 
pected if the specifications don't show unmistakably 
what is wanted. Remember that words describe color 
effects only fairly well at best, so it is always safest to 
get their 0. K. from samples of the tinted paint or 
stain spread on pieces of the trim left over by the 
carpenters. 

Furthermore, if when estimating you figure on rub- 
bing with pumice and oil or water, whereas a light 
rub with steel wool is all that is expected, your esti- 
mate may be high enough to lose the job. And on the 
other hand, if you figure on a steel wool rub and are 
required to rub with pumice your profit will be cut 
down considerable when you get the job. 

TJnit System of Estimating. — The first jobs of a 
contractor had better be figured only on the basis of 
the actual number of square feet in each door, win- 
dow, blind, column, etc., to be painted. After a while, 
however, the estimator learns that all doors, windows 
and such details are of approximately the same size 
within a few inches. He remembers, from previous 
measurements, that the door before him contains about 
so many square feet and it will cost about so much to 
paint it one, two and three coats. When one's mem- 
ory develops to this point it is a time saver, and, of 



MAKING ESTIMATE FOR INTERIOR DECORATING 65 



course, there is no further advantage in measuring 
each and every door, window and blind to be painted. 
But do not carry the unit system beyond a reasonable 
limit; it has its limitations like all good things and 
can be overdone. Out-of-the-ordinary doors, windows, 
etc., on old or exceptional buildings should always be 
measured accurately to have your estimate reasonably 
correct. 

SECTION 10. — MEASURING INTERIOR 

From the Rooms. — Measuring a house itself to cal- 
culate the amount of surface to be painted, stained, 
waxed or filled differs little from figuring the. surface 



Op«M — »» 







Bin 



Bin 



A A 









O 

1 



Scale : % inch=l foot. 
Figure 5. — Cupboards. 

from plans and specifications. It is sufficient to say 
under this subject that the room itself is measured 
with a tape line. Take care to run the line into all 
corners, mouldings and such so as to get all of the sur- 
face — figure too much rather than too little. Multiply 
height by width and put down in square feet all 
surface. 



66 



ESTIMATES, COSTS AND PROFITS 



I 1 








Mirror/ 







, B9B 



m 



111 



li 



DO 



r^^^^^T-i 



-i'-Vh 



Scale : y^. inch=l foot. 
Figure 6. — Medicine and Linen Cases. 




Scale : y^ inch=l foot. 
Figure 7. — Inside Trim. 



MAKING ESTIMATE FOR INTERIOR DECORATING 



67 



Fi^om the Plans. — The bungalow plans in Figures 2, 3 
and 4 will serve the purpose of illustrating the method. 

The Dining Boom. — The ceiling ought first to be 
figured. Floor plan, Figure 2, gives the size of each 
room. The plan reads 12 ft. wide and 15 ft. long for 
the dining room. These measurements are to the 
centers of the partitions. Outside walls are 1 foot 






WmJ|>4»H ^mt* 



(^ 



m 



)Ia(s 



...^s 



»F'«««r'j - P^ 



Panel 



Door5 



'U 



Kfl 4—r»^ 



i:\'-X'-^ 



ifWW 



Be4 «f<t« 2 
t 



Scale : ^z inch=l foot. 
Figure 8. — Desk and Bookcases. 

thick, inside walls 6 inches. The area of the ceiling 
then is 12x15 ft.=180 sq. ft. 

To find the area of the walls, begin in one corner 
and measure all four sides of the room, add them to- 
gether: 12+15+12+15^54 ft. around the room. The 
height of the ceiling is found on the Section, Figure 
11, as 8 ft. 6 in. The baseboard is 7i/4 in. high, ac- 
cording to Figure 7 (the rule on it shows 3% in.). 
The scale is % iiiv equals 1 in. For convenience call 
the ceiling 8 ft. high, allowing the 6 in. for the base- 
board. 



ESTIMATES, COSTS AND PROFITS 



The distance around the room, 54 ft., multiplied by 
the height, 8 ft., equals 432 sq. ft. of surface for the 
walls. 

Contrary to the practice in exterior painting, the 
openings on interior work should be deducted from 
this figure of 432 sq. ft. The door opening to kitchen 
is 2 ft. 8 in. by 6 ft. 8 in. Figure 7 shows the casings 
are 4i/^ in. wide. Add to the width of the door open- 
ing the two casings which together are 9 in. wide. 



B "PM'irror 



» D D 




b'-io" — 

Scale : i/^ inch=l foot. 
Figure 9. — Buffet. 

Add the width of one casing, 4I/2 in., to the height. 
The area to deduct then for this opening is 2 ft. 8 in.-f- 
9 in. by 6 ft. 8 in.-f 41/2 in., or 3 ft. 5 in. by 7 ft. 1/2 in. ; 
call it 31/2x7 ft.^24 sq. ft. 

The windows on the right side are marked 3 ft. 
wide by 4 ft. 6 in. high. Add the width of two casings 
(9 in.) and you have 3 ft. 9 in. by 5 ft. 3 in.; call it 
4 ft. X 5 ft.=20 sq. ft. for each of two windows, or 40 
sq. ft. for both. 

The opening onto the front porch measures 5 ft. by 

6 ft. 8 in. Adding casings, you have 5 ft. 41/2 in. by 

7 ft. 1/2 in. ; call it 51/2x7 ft.==38 sq. ft. 

The small windows opening onto the porch are 1 ft. 
6 in. by 4 ft. 6 in. Add the casings, 9 in., and you 



MAKING ESTIMATE FOR INTERIOR DECORATING 69 

have 2 ft. 3 in. by 5 ft. 3 in. ; call it 2 ft. by 5 ft.=10 
sq. ft., each window. Two windows=20 sq. ft. 

Door opening into the living room shows 7 ft. wide 




Scale : 1 inch=l foot. 
Figure 10. — Elevation of Wainscoting in Dining Room. 




Figure 11. — Section. 

by 6 ft. 8 in. high. Add casings and you have 7 ft. 9 
in. by 7 ft. 1/2 in. ; call it 8 ft. x 7 ft.=56 sq. ft. 

The buffet is 6 ft. 10 in. wide by 4 ft. 6 in. high on 
Figure 9 ; call it 7 ft. x 41/2 ft.=31 sq. ft. 



70 ESTIMATES, COSTS AND PROFITS 

In all then we want to deduct : 

1 Door 24 sq.ft. 

2 Windows 40 " 

1 Door 38 " 

2 Windows 20 " 

1 Door 56 '' 

Buffet 31 '' 



209 sq.ft. 



SUMMARY 

The walls 432 sq. ft. 

The ceiling 180 '' " 

"612 '' " 
Deduct openings 209 " * ' 

Actual surface to paint .... 403 ' ' " 

The Living Room. — Plan shows 12 ft. wide. The 
rule placed on the floor plan Figure 2 reads 5^8 in- 
The scale reads 1 in. equals 4 ft. The room then is 
201/2 ft. long. 

The ceiling is 201/2x12 ft.=246 sq. ft. 

The walls figure: 201/2+12+201/2+12=65 ft. 
around the room. Walls are 8 ft. high, so we have 
65x8=520 sq. ft. 

The openings to deduct are: 

ft. 





Door and Casing 


4' 


9" 


X 7' 


%" 


Call 


it 


5x7=35 sq 




" " " 


2' 


8" 


X 6' 


8" 






3x7=21 " 




" " " 


7' 


9" 


X 7' 


V." 






8x7=56 " 




Window and Casing 


9' 


9" 


X 5' 


3" 






3x5=15 " 




" " 


2' 


9" 


X 5' 


3" 






3x5=15 " 




Door and Casing 


4' 


9" 


X 7' 


%" 






5x7=35 " 




" " " 


7' 


9" 


X 7' 


%" 






8x7=56 " 




TOTAL 


3' 


1" 


X 7' 


1/2" 






3x7=21 " 




254 sa 



ft. 



MAKING ESTIMATE FOR INTERIOR DECORATING 71 
SUMMARY 

Walls 520 sq.ft. 

Ceiling 246 '' " 

766 '' '' 
Deduct openings 254 * ' " 

Actual surface to paint... 512 *' *' 

The Den.— The plan shows it to be 111/2 ft. by 131/2 
ft., which equals 155 sq. ft. for the ceiling. 

Measuring around the room we have 11%+13V2+ 
111/2+131/2 ft.=50 ft. for the walls. Multiply by the 
height of the ceiling, 8 ft. ; 50x8^400 sq. ft. for the 
walls. 

The openings to deduct are : 

1 Door and Casing 3' 3" x 7' V2" Call it 3x7y2=22 sq. ft. 

1 " " " 4' 3" X 7' V2" 

1 Window and Casing 2' 3" x 5' 3" 

1 " " " 2' 3" X 5' 3" 

1 Door and Casing ' 5' 9" x 7' l^" 

1 Window and Casing 6' 9" x 5' 3" 

1 Door and Casing 3' 7" x 7' %" 

1 Desk (Figure G) 5' 6" x 7' 

TOTAL DEDUCTIONS 206 sq. ft. 



SUMMARY 

Walls 400 sq. ft. 

Ceiling 155 " '' 



4x7 =28 



2x5 


=10 


2x5 : 


=10 


6x7 = 


=42 


7x5 : 


=35 


3x7 -. 


=21 


5y2x7= 


=38 



555 '' '' 
Deduct openings 206 " " 

Actual surface to paint. . . .349 '' *' 

The Kitchen. — The ceiling measures, according to 
Figure 2, 12 ft. wide by 13 ft. when the closet ceiling 
is also included. 12x13=156 sq. ft. 



72 ESTIMATES, COSTS AND PROFITS 

The walls measure around 12+13+12+13=50 ft. 
The walls are 8 ft. high to ceiling. 50x8 for the walls 
=400 sq. ft. 

The openings to deduct are : 

1 Door and Casing 3' 5" x 7' V2" Call it 3%x7=24 sq. ft. 

1 Window and Casing 3' 9" x 5' 3" " " 4x5=20 

1 " " " 3' 9" X 3' 9" " " 4x4=16 

1 " " " 3' 9" X 3' 9" " " 4x4=16 

1 Door and Casing 3' 5" x 7' V-i" " " 3y2x7=24 

1 Cupboard 6' 6" x 8' " " 61/2x8=52 

TOTAL 152 sq. ft. 



SUMMARY 

Ceiling ^. 156 sq. ft. 

Walls 400 '' '' 



556 " ** 
Deduct openings 152 " ** 

Actual surface to paint. . . .404 " *' 

Closet. — Ceiling included with kitchen. Walls 8V2 
+3+81/2+3=23 ft. around the room. Walls are 8 ft 
high ; 23x8=184 sq. ft. 

The opening to deduct: 

1 Door and Casing 3' 1" x 7' V2" Call it 3x7=21 sq. ft. 

SUMMARY 

Walls 184 sq.ft. 

Deduct opening 21 " '' 

Actual surface to paint. . . .163 " " 

Bath Room. — Size on plan 51/2 ft. by 7I/2 ft., which 
equals for the ceiling 41 sq. ft. 

Walls 51/2+71/2+51/2+71/2=26 ft. around. The 
walls are 8 ft. high. 26x8=208 sq. ft. 



MAKING ESTIMATE FOR INTERIOR DECORATING 73 

The openings to deduct are : 

1 Door and Casing 3' 1" x 7' Va" Call it 3x7=21 sq. ft. 

1 Window and Casing 3' 9" x 3' 9" " " 4x4=16 " " 

TOTAL 37 sq. ft. 



SUMMARY 

Ceiling 41 sq. ft. 

Walls ._^ " '' 

249 '* '* 

ii ii 



Deduct openings 37 

Actual surface to paint .... 212 



( ( <( 



The Hall. — Ceiling measures on plan 141/2 ft. by 
31/2 ft., including the closet at end. 141/2x31/2 ft.=50 
sq. ft. 

The walls measure around 3i/2+14i/2+3i/2+14i/2^ 
36 ft. They are 8 ft. high. 36x8 ft.=288 sq. ft. 

The openings to deduct are: 

1 Door and Casing 3' 3" x 7' V2". Call it 3x7=21 sq. ft. 

1 " " " 3' 3" X 7' V2". " " 3x7=21 •' " 

1 " " «' 3' 1" X 7' Va". " " 3x7=21 " " 

TOTAL 63 sq. ft. 



SUMMARY 

Ceiling 50 sq. f t. 

Walls ^ '' '' 

' 338 '' *' 
Deduct openings 63 " '* 

Actual surface to paint .... 275 * * * * 

Dressing Room mid Closet. — Size of ceiling on plan 
71/2 ft. X 71/2 ft.=56 sq. ft. 



74 ESTIMATES, COSTS AND PROFITS 

Walls measure around 71/2+71/2+71/2+71/2=30 ft. 
They are 8 ft. high ; 30x8--240 sq. ft. 
Openings to deduct are : 

1 Door and Casing 3' 1" x 7' V2". Call it 3x7=21 sq. ft. 

1 Window and Casing 3' 9" x 4' 9". " " 4x5=20 " " 

1 " " " 1' 9" X 2' 9". " " 2x3= 6 " " 

TOTAL 47 sq. ft. 



SUMMARY 

Ceiling 56 sq. ft. 

Walls 240 " " 

296 " '' 
Deduct openings 47 ' ' ' ' 

Actual surface to paint .... 249 ' ' " 

Rear Screen Porch. — Size of ceiling 7^x12 ft.=90 
sq. ft. 

Walls 71/2+12+71/2+12 ft.=39 ft. around. Walls 
are 8 ft. high. 8x39 ft.=312 sq. ft. 

Openings to deduct are : 

1 Door 2' 8" X 6' 8". Call it 3x7=21 sq. ft. 

2 Doors * 2' 6" x 6' 8". " " 8x7x2=42 " " 
1 Door 4' X 0' 8". " " 4x7=28 " " 

TOTAL 91 sq. ft. 



SUMMARY 

Ceiling 90 sq. ft. 

Walls 312 " '' 

402 " '' 



Deduct openings 91 

Actual surface to paint. . . .311 ' 



< ( 



MAKING ESTIMATE FOR INTERIOR DECORATING 75 



Total Wall and Ceiling Area: 

Dining room 403 sq. ft. 

Living room 512 

Den 349 

Kitchen 404 

Closet 163 

Bath 212 

Hall and closet 275 

Dressing room and closet .... 249 
Screen porch 311 

2^ 

The Floor Area. — (Same as ceilings.) 
The Dining Room Floor. — Figure 2 shows 

it to be 12 ft. wide by 15 ft. long 180 sq. ft. 

The Living Room Floor. — Size 12 ft. by 

201/2 ft 246 '' '' 

The Den Floor.— Size lli/s ft. by 131/2 f t . . 155 ' ' *' 
The Kitchen and Closet Floor. — Size 12x 

13 ft 156'' '' 

The Screen Porch Floor.— Size 71/2X 12 ft. 90 '' '' 
The Hall and Closet Floor.— Size 31/2X 

141/2 ft 50'' " 

The Bath Room Floor.— Size Si^xTi^ft. . 41" " 
Dressing Room and Closet Floor. — Size 

71/2x71/2 ft _56J' " 

Total . . .■ 974 sq. ft. 

The Doors, Frames and Casings. — It is necessary to 
measure each door and window only a few times to 
learn what the measurements usually are — to have 
the sizes in mind or a typewritten list of them for 
reference. Divide all doors into three classes, small, 
ordinary size and extra large. Then figure only two 
sizes of doors, putting every door in one class or the 



76 



ESTIMATES, COSTS AND PROFITS 



other, as there is no practical difference in time or 
material required for doors 2 ft. 6 in., 2 ft. 8 in. and 
3 ft. wide, so call these ordinary doors and figure all of 
one size, 2 ft. 6 in. wide by 6 ft. 6 in. high. All other 




AROUND BOTH CASINOS 



Figure 12. — Door Frame and Casing. 

doors ought to be measured. Usually there are but 
one or two doors of extra large size per house. 

The plan usually gives the size of the doors. To 
measure the surface of a frame and casing use a 
tape line to get the distance around from the edge of 
the casing on one side across the frame and casing 
on the other side, as in Figure 12. Most casings and 
frames are either 4 inches or 6 inches wide, so the 
average surface to finish is 16 or 18 inches wide — 



MAKING ESTIMATE FOR INTERIOR DECORATING 77 

call it 11/2 ft., a couple of inches one way or another 
makes no difference. 

To get the length of the casing and frame, measure 
from the floor on one side up to the top of the frame, 
across the top and down again parallel to the casing 
on the other side to the floor, as in Figure 12. The 
average door is 6 ft. 6 in., or 8 in. high. Add the 
width of the casing on top (6 in.) and figure the av- 
erage casing and door frame as 7 ft. high. To the 
width of the door opening, 2 ft. 6 in., add the width of 
the two casings, each 6 in., and you have the length of 
the casing across the top — 2t ft. 6 in. plus 6 in. plus 
6 in.=3y2 ft. 

Calculating the square measure, then, for the casing 
and frame, you have it li/^ ft. wide by 7 ft. high. The 
length of the casing, both sides and across the top, is 
7_|_3i/2+7=17i/2 lineal feet. 

The casing is IV2 ft. wide by 171/2 ft. 
long= 26 sq. ft. 

The door 21/2 ft. wide by 61/2 ft. high-= 
16 sq. ft. each side, 2 sides= 32 *' ** 

Each door and casing, 2 sides 58 sq. ft. 

The bungalow floor plan Figure 2 shows doors and 
casings as below : 
9 ordinary doors and casings, 58 sq.ft.each=522 sq. ft. 

2 cased openings, 26 sq. ft. each= 52 '* '' 

2 extra large doors, 4 ft. by 6% ft.=54 sq. 

ft. each= 108 '' '' 

2 extra large doors, 5 ft. by 6V2 ft.=65 sq. 

ft. each= 130 '' '' 

2 extra large doors, 7 ft. by 6% ft.=122 sq. 

ft. each= 244 '' '' 

All doors and casings, 2 sides= 1,056 sq. ft. 



78 



ESTIMATES, COSTS AND PROFITS 



The Window Casings and Sash. — Where there are 
many windows of approximately the same size within 
a few inches, figure all at the same measurement ; four 
or five inches larger or smaller can make but little 
difference in either material or labor cost. The in- 
side of the window only is figured with the interior 



ME/VSVRE HERE 




Figure 13. — Window Casing. 

decorating; the outside is included with the painting. 
The casing, frame, sash and stop are usually consid- 
ered as 1% ft. wide or across. They actually measure 
a few inches less, but the difficulty of getting at them 
and cutting edges on the sash justifies the calculation. 
See Figure 13. 

Floor plan, Figure 2, shows windows, sash and 
casings as below: 

Six windows 3 ft. wide by 4l^ ft. high, and the 



MAKING ESTIMATE FOR INTERIOR DECORATING 79 

casing, frame and sash would figure ll^ ft. wide. The 
calculation would be made this way: 

Two side casings 4I/2 ft. high^ 9 f t . 

Top 3 ft. plus a 6 in. casing on each side= . . 4 ' ' 
Bottom sill 3 ft. plus a 6 in. casing on each 
side= _4 " 

17 ft. 
Each window casing would figure then : 

11/2 ft. by 17 ft.=25y2 sq. ft. 
All Windows on Plan. — 

6 Windows, Sash 3' x 4%' at 25 1^ sq. ft. each=153 sq. ft. 

6 " " 11/2' X 41/2' " 18 '• " " =108 " " 

3 " " 3' X 3' " 21 " " " = 63 " " 

1 " " 1' X 2' = 12 " " 

All windows and casings, 1 side 336 sq. ft. 

Baseboard. — This piece of trim usually measures 6, 
7, 10 or 12 in. wide, but is always figured as 1 ft. be- 
cause both top and bottom edges must be cut. clean, 
which requires at least as much time if not quite as 
much material as a flat 1-foot surface with no edges 
to cut. 

Figure 2 shows the baseboard measures as below, 
excluding openings : 

Dining Room, 12+15+12+15 ft.= ..54 ft.— 24 ft. openings=30 ft. 
Living Room, 12 + 20y2 + 12 + 20% 

f I; :^ ^ ^ ^ _ ^ _ _ 65 " 33 " " =32 " 

Den* lli/2+13y2+iiy2+13y2' ft.= !i".50 " —27 " " =23 " 

Kitclien, 12+7+7+9+5+3 ya ft.=-. . .43 " — ♦' " =43 " 
Hall and Closet, 14y2+3y2+14y2 + 

3y2 ft.= 36" — 14" " t=22 " 

Bath, 5y2+7yo+5y2+7y2 ft.= 26 " — 3 " " =23 " 

Dressing Room, 5+7y2+5+7y2 ft.= .25 " — 7 " " =18 " 

Closet, 2y2+7y2+2y2+7y2 ft.= 20 " — 3 " " =17 " 

Closet, 3+8y2+3+8y2 ft.= 23 " — 3 " " =20 " 



228 ft. 



Total baseboard 228 ft. long by 1 ft. wide=228 
sq. ft. 



80 ESTIMATES, COSTS AND PROFITS 

Picture Moulding. — 

Dining Room 12+15+12+15ft.= . . . 54 ft. 
Living Room 12+201/2+12+201/2 ft.= 65 " - 
Den 111/2+131/2+111/2+131/2 ft.= ... 50 '' 
Kitchen 91/2+I2+I3+31/2+8I/2 ft.= 46 '' 
Hall 111/2+31/2+111/2+81/2 ft=:..._30 '' 

245 ft. 

Picture mouldings are made in different widths, 
1% in. wide and 3% in. wide being most common. 
They are always measured as being 1/2 ft. wide for 
convenience in estimating. 

Total moulding is 245 ft. long by 1/2 ft. wide=122 
sq. ft. 

Chair Rail. — 

Hall, liy2+3V2+llV2+3V2 ft.= 30 ft.— 14 ft. openings:=16 ft. 

Kitchen, 9 Va +12+13+3 1/2+8 Vg ft.= .46 " — 7 " " =39 " 

Bath room, 5 Va +7 1/2+51/2+71/2 ft.= .26 " — 7 " " =19 " 

Closet, 21/2+71/2+21/2+71/2 ft.= 20 " — 3 " " =17 " 

Closet, 3+8 y2 +3+8 1/2 ft.= 23 " — 3 " " =20 " 

111 ft. 

Ill ft. long by 1/2 ft. wide=55 sq. ft. 

Plate Rail—Dini7ig i^oom.— 12+15+12+15 ft.= 
54 ft. minus openings 18 ft. = 36 ft. 

Figure it as being 1 ft. wide by 36 ft. long^36 
sq. ft. 

1 Batten or Panel every foot, excluding openings= 
12+15+12+15 ft.=-54 ft., minus 24 ft.=30 ft. 

30 Battens 3i/4 ft. long=97i/2 ft. long by 3 in. wide, 
call it 1/2 ft. wide^48 sq. ft. 

Plate Rail 36 sq.ft. 

Battens 48 '' '' 



Total 84 



II n 



( ( 






MAKING ESTIMATE FOR INTERIOR DECORATING 81 

Buffet — Dining Room. — Figure 9. — Front measures 
7 ft. 4 in. wide by 5 ft. high, call it 7x5 ft.=: 35 sq. ft. 

2 sides 11/2 ft. by 3 ft.-= 9 '' 

Top 71/2 ft. long by 11/2 ft. wide= 11 ' 

Shelf 71/2 ft. long by 1/2 ft. wide=- ^_3 '' 

Total 58 sq. ft. 

Desk and Book Cases — Den. — Front measures 5^/2 

ft. wide by 7 ft. high= 38 sq. ft. 

2 ends measure IV2 ft. wide by 7 ft. high 

each-= 20 '' " 

7 shelves measure 1 ft. wide by 51/2 ft. each= 38 
Pigeon holes — estimate about 4 

Total 100 sq. ft. 

Cupboards — Kitchen. — Front measures 6V2 ft- wide 

by 81/2 ft. high= 55 sq. ft. 

2 ends measure l^/^ ft. wide by 8I/2 ft. high= 25 

7 shelves measure 1 ft. wide by 6 ft. high= . . 42 

Total 122 sq. ft. 

Medicine Case. — Front measures 2 ft. wide by 2V2 

ft. high= 5 sq. f t . 

Inside measures 2 ft. wide by 2 ft. high^^. . 4 

8 shelves 1 ft. wide by 2 ft. long= 16 

Total 25 sq. ft. 

Linen Case. — Front measures 2I/2 ft. wide by 3 ft. 

high= 7 V2 sq. ft . 

2 sides measure IV2 ft. wide by 3 ft. high=4V2 '' '* 
Top measures ll^ ft. wide by 21/2 ft. high= 4 '' ** 

Total 16 sq. ft. 






n i c 



82 ESTIMATES, COSTS AND PROFITS 



SUMMARY AREA TO BE DECORATED — INTERIOR — FIGURES 

3, 4 AND 5. 

Walls, Ceilings and Floors. — 

Walls & Ceilings Floors 

Dining Room 403 sq. f t 180 sq. ft. 

Living Room 512 '' '' 246 '' 

Den 349 '' " 155 '' 

Kitchen 404^'''..-^ 

Closet 163 ''''.. I "^^^ 

Bath 212 ^' '' 41 '' 

Hall and Closet 275 '^ " 50 " 

Dressing Room and Closet 249 '' '' 56 '* 

Screen Porch 311 '' *' 90 '* 



Total 2,878 sq. ft 974 sq. ft. 



Interior Trim. — 

Baseboard 228 sq. ft 

Picture Moulding 122 ' ' 

Chair Rail 55 " 

Doors, Frames and Casings (2 sides) . . . .1,056 *' 

Window Casings, Frames and Sash (1 side) 336 " 

Plate Rail and Battens 84 " 

Buffet 58 '' 

Desk and Book Cases 100 ' ' 

Cupboard 122 ' * 

]\Iedicine Case 25 ' ' 

Linen Case 16 " 

Total Interior Trim 2,202 sq. ft. 



MAKING ESTIMATE FOR INTERIOR DECORATING 83 
SECTION 11. TO FIGURE THE MATERIAL INTERIOR 

How much Surface Will One Gallon Cover? — Be- 
cause flat paint made by thinning down pure white 
lead with turpentine and a little oil stays put and 
does not run, it is possible to mix it so thick as to 
cover and hide about any surface in one coat. This 
fact makes it difficult to state how much surface you 
may expect a gallon to cover. A man will mix his 
paint sufficiently thick to hide the surface in one 
coat if he must ; then a gallon of paint, for instance, 
will not cover as much as when it is mixed thin and 
to hide the surface in three coats. 

A gallon of flat paint (lead thinned with turpen- 
tine) light tints, will cover on an average each coat 
as below. These figures do not represent the priming, 
the second or third coats alone, but rather an average . 
between all three coats. See Section 7. 

One Gallon of Flat Lead Paint Covers: 

Light tints on interior wood trim, plaster, or wall 

board about 600 to 700 sq. ft., 1 coat 

Dark colors about 700 to 900 " " '' '' 

See also Section 7 for rough cast walls. 

One Gallon of Varnish Covers: 

Floor varnish about 500 sq. ft., 1 coat. 

Spar finishing varnish about 600 sq. ft., 1 coat. 

One Gallon of Hard Oil Covers: 
About 450 to 500 sq. ft., 1 coat. 

One Gallon of Shellac Covers: 

On an average about 400 sq. ft., 1 coat. 



84 ESTIMATES, COSTS AND PROFITS 

One Gallon of Wax Covers: 

Aboiit 600 sq. ft., 1 coat. 

Formulae : 1 gallon turpentine, 2 lbs. beeswax, 2 
tablespoonfuls of XXXX ammonia. 

One Gallon Varnish Size Covers: 

About 1,200 to 1,400 sq. ft., 1 coat. 
Composed of varnish, benzine or turps, and a little 
paint. 

1 qt. covers about 350 sq. ft., 1 coat. 

One Gallon Glue Size Covers: 

About 1,000 sq. ft., 1 coat. 
1 qt. covers about 250 sq. ft., 1 coat. 
Formulae : 214 to 3 gallons water to 1 lb. good glue, 
ground or flake (about 22c quality). 

One Gallon of Oil Stain Covers: 

Mahogany, oak and others about 500 sq. ft., 1 coat. 

One Gallon of Spirit or Acid Stain Covers: 

Mahogany, oak and others about 450 sq. ft., 1 coat. 

One Pound Paste Wood Filler Covers: 

On oak about 40 sq. ft., 1 coat. 
On birch about 45 sq. ft., 1 coat. 
On pine about 45 sq. ft., 1 coat. 

One Gallon Liquid Filler Covers: 
About 550 sq. ft., 1 coat. 



MAKING ESTIMATE FOR INTERIOR DECORATING 85 

One Gallon White Enamel Covers: 

There is a little difference between the brands of 
different manufacturers, but on an average one gallon 
will cover 600 sq. ft., one coat, over prepared ground 
coats on any surface. 

• 
One Gallon of Enamel Tinder coating Covers: 

About 500 sq. ft., 1 coat. 

One Gallon of Faint and Varnish Remover Covers: 
Brands differ, but 300 sq. ft., one coat, is an average. 

One Gallon of Calcimine Covers: 

On smooth plaster about 275 sq. ft., 1 coat. 
On sand finish plaster about 225 sq. ft., 1 coat. 
On brick about 175 sq. ft., 1 coat. 

One Gallon of Bronze Covers: 

Bronze powder thinned with bronzing liquid or var- 
nish and turpentine about 700 sq. ft., 1 coat on metal. 

One ounce of bronze powder thinned as above covers 
about 24 sq. ft., 1 coat on metal. 

Tiffany Glazing Color Covers: 

Figure one pound of each color per room of average 
size. 

Starch. 

Figure one pound of starch per room. 
How Many Gallons from a Mixf See Section 7. 



86 ESTIMATES, COSTS AND PROFITS 

SECTION 12. — TO FIGURE THE LxVBOR — INTERIOR 

What Is a Day's Workf—^ee Section 8.— The fig- 
ures to follow do not represent the amount of first, 
second or third coat work a man can do per hour, but 
rather an average between all three coats. They were 
arrived at by adding together the time required for 
all three coats and dividing that figure by three. 

Painting Wood Trim. — Figure that an average 
journeyman will paint 150 sq. ft. per hour, or 1,350 
sq. ft. per day of nine hours. 

Painting Smooth Plaster Walls. — An average jour- 
neyman will paint about 150 sq. ft. per hour, 1 coat — 
about 1,350 sq. ft. per day of nine hours. 

Painting Sand Finish Walls. — One man will paint 
about 140 sq. ft. per hour, 1 coat, and about 1,260 sq. 
ft. per day of nine hours. 

Painting Rough Stucco Walls. — One man will paint 
about 110 sq. ft., 1 coat, per hour, and about 990 sq. 
ft., 1 coat, per day of nine hours. 

Painting Canvas or Muslin. — One man will paint 
about 140 sq. ft. per hour, 1 coat, and about 1,260 sq. 
ft., 1 coat, per day of nine hours. 

Painting Wall Board. — When panelled before 
painting many edges must be cut. One man will paint 
about 110 sq. ft. per hour, 1 coat, and 990 sq. ft., 1 
coat, per day of nine hours. 

To paint when not panelled or before moulding is 
put on, figure same as smooth plaster walls. 

Sizing. — One man will apply glue size at the rate 
of 600 sq. ft. per hour. One man will apply varnish 
size at the rate of 100 sq. ft. per hour. 

Enameling. — One man will enamel about 120 sq. 
ft., 1 coat, per hour on doors, windows, baseboards, 



MAKING ESTIMATE FOR INTERIOR DECORATING 87 

etc. An average door and casing will be given one 
coat both sides in half an hour. 

Figure that each man will enamel two doors and 
casings per hour, 1 coat, two sides. 

Figure that one man will enamel 130 lineal feet 
of baseboard per hour, 1 coat. Figure all baseboards 
the same, whether 6 inches, 8 inches, or 10 inches 
wide. 

Figure that one man will enamel an average window 
in 15 minutes, or four windows per hour, 1 coat; 
this includes the casing, sash, sill, and all inside. 

Figure that one man will enamel 140 lineal feet 
of picture moulding, cove mould or chair rail per hour, 
1 coat. 

Yarnishing, Shellacing. — ^An average journeyman 
will apply one coat in one hour, as below : 

On 2 doors and casings, both sides. 
On 4 windows and casings, one side. 
On 130 lineal feet of baseboard. 
On 150 lineal feet of chair rail. 
On 140 lineal feet of picture mould. 
On 150 lineal feet of cornice. 
On 70 sq. ft. of flat surface. 

Staining. — One man will brush on and wipe off oil 
stain at the rate of about 200 sq. ft. per hour. Spirit 
stain and water stain about 150 sq. ft. per hour. 

Calcimining. — An average journeyman will apply 
as below : 

200 sq. ft., 1 coat, per hour on sand finish wall. 
340 sq. ft., 1 coat, per hour on smooth finish wall. 
180 sq. ft., 1 coat, per hour on brick. 



88 ESTIMATES, COSTS AND PROFITS 

Bronzing. — One man will bronze two radiators per 
hour, 1 coat. 

Starching. — One man will coat and stipple with 
starch about 200 sq. ft. per hour. 

Stippling. — This requires the services of an extra 
man, as it must be done immediately after the paint 
is brushed on. Figure for stippling a room the same 
time for one man as you figure for painting one coat. 

One man can stipple 600 or 700 sq. ft. per hour if 
the work is ready, but he usually follows a brush hand 
and can work no faster, so figure 150 sq. ft. per man 
per hour. 

Floor Filling — Preparing. — Figure for brushing on 
the filler that one man will coat 150 sq. ft. per hour, 
1 coat. 

Figure the same time for wiping off the surplus filler. 

Figure for sandpapering that one man will rub 
down about 300 sq. ft. per hour. 

Waxing and Polishing. — One man will brush on 
about 200 sq. ft. per hour, 1 coat. 

One man will polish fairly well with a weighted 
brush about 150 sq. ft. per hour. 

Preparing Surfaces. — Such work is usually so un- 
certain as to time and material needed that it is safer 
to do it on the time and material basis — that is, day 
work. You never know what you are up against 
when burning and scraping off cracked and scaled 
paint, for instance, or removing old wallpaper, filling 
cracks, etc. The paint may come off fairly easy, or it 
may be so hard as to make it necessary to dig it off a 
little at a time. There may be one or two thicknesses 
of wall paper or six. 

Possibly the paper was varnished some time or other 
which, of course, makes a difficult covering to remove. 



MAKING ESTIMATE FOR INTERIOR DECORATING 89 

After you get the old paint or paper off, the plaster 
may be so poor as to require much filling and a coat 
or two of shellac before you proceed with the painting. 

Washiiig. — To do a good job of washing walls re- 
quires about as much time as to paint it one coat, so 
figure the same time for it. 

Calcimine can be washed off at the rate of 170 sq. 
ft. per hour. 

Tiffany Wall Glazing. — One glazing color (exclud- 
ing ground coats), 50 sq. ft, per hour. 

Four glazing colors (excluding ground coats), 33 
sq. ft. per hour. 

This includes the blending and stippling. 

Stenciling. — An ordinary stencil 4 in. wide may be 
transferred in two colors to the wall, the ties filled in 
by hand, a small amount of a third color put in by 
hand and high lights wiped out at the rate of about 
10 lineal feet per hour. 

An ordinary stencil can be transferred in one color, 
no filling in of ties or wiping out, at the rate of 20 
lineal feet per hour. 

An outline stencil may be transferred at the rate 
of 30 lineal feet per hour. 

Filling in outline stencils is an uncertain task as 
to time required. The character of the design, num- 
ber of colors, amount of wiping out of high lights and 
the skill of the decorator are all determining factors. 
The time required per yard or per room is subject 
to great variation. It is best to charge for this work 
on the Time and Material Basis; an estimate for it 
is little better than a guess usually. 

Mixing Colors. — Allow one hour per room for mix- 
ing paint, stains, wax, filler, and other necessary inci- 
dentals. 



90 ESTIMATES, COSTS AND PROFITS 

MAKING UP THE ESTIMATE— INTERIOR 
LISTING THE MATEKIALS 

WALLS AND CEILINGS 

In Section 10 we find that the total area of walls and 
ceilings to be painted is 2,878 sq. ft. 

Putty. — The first step is to prepare these walls and 
ceilings for painting by filling cracks and leveling up 
the surface. We will estimate that it will require 
about 2 lbs. of putty and 1 pint of shellac. 

Size. — The surface is now ready to size. Section 11 
says 1 gallon of varnish size covers about 1,200 sq. ft. 
Divide the total surface area, 2,878 sq. ft., by 1,200 sq. 
ft., and you find that 2.39 gals, of size are needed for 
the job, call it 2i/2 gals. To make this size li/4 gallons 
of varnish and II/4 gallons of benzine are needed. 

Fainting. — The surface is now ready to paint. Sec- 
tion 11 says 1 gallon of flat paint, light tint, will cover 
about 600 to 700 sq. ft., 1 coat, on smooth plaster 
walls. Divide the area to paint, 2,878 sq. ft., by 700 
sq. ft.=4.11 gals., call it 43/2 gals, for one coat, and 9 
gals, for two coats. 

The materials needed to make this paint are lead, 
color and turpentine. An average formula for a 
light-tinted paint thinned to brushing consistency is : 

100 lbs. of white lead equals 2% gals. 

3 gals, turpentine * ' 3 ' * 

1 lb. color '' 

Makes 5% gals, of paint 

The job will need then a little less than twice the 
quantities of this formula, but it is best to send to each 



MAKING ESTIMATE FOR INTERIOR DECORATING 91 

job a little more than is needed, as shown by your 
estimate. The quantities to figure then are : 

100 lbs. of white lead equals 2% gals. 

100 " " " " " 23/4 '' 

6 gals, turpenine ^' 6 '* 

2 lbs. color '' 

Makes 11% gals, of paint 

Starching. — Estimate that about 1 pound of starch 
is needed for each room, or 4 pounds in all. 



FLOORS 

Section 10 shows the total floor area to be finished 
as 974 sq. ft. 

Filling. — One gallon of liquid filler fills about 550 
sq. ft. (See Section 11). Divide 974 sq. ft. by 550 
sq. ft. and we find that 1.77 gals, of filler are needed ; 
call it 1% gals. If paste filler is to be used on oak 
floors, 1 pound thinned with turpentine will fill about 
40 sq. ft. Divide the floor area, 974 sq. ft., by 40, 
and you find that 24 pounds of paste are needed ; also 
one-half gallon of turpentine will be required to thin 
the paste. 

Shellac. — A coat of shellac is now in order. In Sec- 
tion 11 we find that 1 gallon covers about 400 sq. ft., 1 
coat. Divide the floor area, 974 sq. ft., by 400 sq. ft. 
and we find that 2.43 gallons of shellac are needed; 
call it 2% gallons. 

Varnish. — A coat of varnish is next needed. One 
gallon covers about 500 sq. ft., 1 coat (See Section 
11). Divide the floor area, 974 sq. ft., by 500 sq. ft., 
and we find that 1.94 gallons of varnish are needed; 
call it 2 gallons. 



92 ESTIMATES, COSTS AND PROFITS 

Waxing. — A coat of wax will finish the floors. A 
gallon of wax made by this formula will cover abont 
600 sq. ft., 1 coat (See Section 11) : 

Two lbs. beeswax — melt in a pot placed in a pail of 
hot water and add 1 gallon of turpentine and 2 table- 
spoonfuls of strong hartshorn ammonia. 

The area to be waxed is 974 sq. ft. Divide 974 sq, 
ft. by 600 sq. ft. and we find that 1.62 gallons of wax 
are needed ; call it 2 gallons. The materials needed 
then are: 

2 gallons turpentine. 
2 pounds beeswax. 
1 ounce ammonia. 

THE WOOD TRIM 

In Section 10 we find the total area of trim to be 
finished is 2,202 sq. ft. Often one or two of the rooms 
in the house are given a different finish on the trim 
than the balance of the rooms; the bath and dining- 
rooms may be white, the kitchen natural finish and 
other rooms stained. It will serve to illustrate the 
method of estimating just as well, however, simply to 
figure all of the trim to be finished the same way — 
that is, fill, stain and wax. 

Filling. — One gallon of liquid filler fills about 550 
sq. ft. as per Section 11. Divide the total trim area, 
2,202 sq. ft., by 550 and you find that 4 gallons of 
filler are needed for the job. 

Staining. — One gallon of oil s^ain will cover about 
500 sq. ft., one coat on an average. One gallon of 
spirit or acid stain will cover about 450 sq. ft. Divide 
the area to be stained, 2,202 sq. ft., by 500 sq. ft., and 



MAKING ESTIMATE FOR INTERIOR DECORATING 93 

we find that 4.44 gallons of oil stain are needed for 
the job ; call it 4I/2 gallons. See Section 11. 

Waxing. — One gallon of wax will cover about 600 
sq. ft. one coat. See Section 11. Divide the surface 
to be waxed, 2,202 sq. ft., by 600 sq. ft., and we find 
that 3.67 gallons of wax are needed for the job ; call 
it 4 gallons. Section 11 shows the materials needed 
for a gallon of wax are : 

1 gal. turpentine. 

2 lbs. beeswax. 

2 tablespoonfuls of hartshorn ammonia. 

For 4 gallons of wax then the materials needed are : 

4 gals, turpentine. 

8 lbs. beeswax. 

8 tablespoonfuls of ammonia. 

LISTING THE LABOR 
WALLS AND CEILINGS 

Putty Cracks. — Time required to prepare the walls 
of different rooms in houses will vary greatly accord- 
ing to the condition of the walls. When walls are 
cracked more than usual, do not include the prepara- 
tion of surfaces in the contract estimate, but charge 
for it on the time and material basis. We will esti- 
mate that an hour 's time will be needed for filling the 
cracks in each of the four rooms, 4 hours in all. 

Sizing. — There are 2,878 sq. ft. of walls and ceilings 
to be sized. One man will coat with varnish size about 
100 sq. ft. per hour. Divide 2,878 sq. ft. by 100 sq. ft. 
and we find that 28.78 hours are required for the whole 
job ; call it 29 hours for one man. See Section 12. 

Painting. — The area to paint is 2,878 sq. ft. One 



94 ESTIMATES, COSTS AND PROFITS 

man will paint on an average about 150 sq. ft. per 
hour, one coat. Divide 2,878 by 150 and we find that 
19.18 hours are needed for one man to paint the entire 
area ; call it 19 hours even for one coat and 38 hours 
for two coats. See Section 12. 

Stippling. — The last coat usually is stippled. The 
area to stipple is 2,878 sq. ft. One man will stipple 
as fast as the paint is brushed on, so figure 150 sq. ft. 
per hour. The stippling will then also require 19 
hours. See Section 12. 

Starching. — Wall and ceiling area be starched is 
2,878 sq. ft. One man will starch and stipple at the 
same time about 200 sq. ft. per hour. Divide 2,878 
by 200 and we find that 14.39 hours ' time is necessary 
for starching; call it 14i/^ hours. See Section 12. 

FLOORS 

Filling. — Area to be filled is 974 sq. ft. One man 
will brush on about 150 sq. ft. per hour and will wipe 
off about the same amount in the same time as given 
by Section 12. Divide 974 by 150 and we find that 
6.49 hours are needed; call it 6% hours. We have 
then 61/2 hours for spreading the filler and 6% hours 
for wiping; 13 hours for both. 

Sandpapering. — ^A man will sandpaper lightly about 
300 sq. ft. per hour on an average. See Section 12. 
Divide 974 sq. ft. by 300 and we find that 3.24 hours 
are needed; call it 3i/2 hours. 

Shellacing. — 974 sq. ft. are to be coated. One man 
/ill coat about 70 sq. ft. one coat per hour. See Sec- 
tion 12. Divide 974 by 70 and we find that 13.91 
hours, call it 14 hours, are needed. 

Varnishing. — Same time as is needed for shellacing, 
14 hours for one man. 



MAKING ESTIMATE FOR INTERIOR DECORATING 95 

Waxing. — 974 sq. ft. is the area to be waxed. One 
man will coat with wax about 200 sq. ft. per hour. 
See Section 12. Divide 974 by 200 and we find that 
4.87 hours are needed; call it 5 hours. 

Polishing. — Much or little time may be spent on this 
finishing, according to how fine a job is expected. In 
Section 12 we find that one man will polish fairly well 
with a weighted brush about 150 sq. ft. per hour. Di- 
vide 974 by 150 and we find that 6.49 hours are needed ; 
call it 6% hours. 

THE WOOD TRIM 

The total area of all trim in this bungalow is given 
in Section 10 as 2,202 sq. ft. 

Staining. — Area to be stained, all the wood trim, is 
2,202 sq. ft. One man will coat and wipe off with oil 
stain as per Section 12, about 200 sq. ft. per hour. 
Divide 2,202 by 200 and we find that 11 hours are 
required. 

Filling. — One man, according to Section 12, will 
spread on about 150 sq. ft. of filler per hour ; he will 
wipe off about the same amount on an average. Di- 
vide 2,202 by 150 and you find it will require about 
14.68 hours, call it 141/2 hours, to spread the filler and 
the same time to wipe it off, or 29 hours for both. 

Sandpapering. — A man will sandpaper lightly 
about 300 sq. ft. per hour as per Section 12. Dividing 
2,202 by 300 we find that 7.34 hours, call it 71/2 hours, 
are needed. 

Waxing. — 2,202 sq. ft. is the total trim area to be 
waxed, as per Section 10. Section 12 says one man 
will coat with wax about 200 sq. ft. per hour. Divide 
2,202 by 200 and we find that 11 hours are needed. 



96 



ESTIMATES, COSTS AND PROFITS 
MIXING 



Considerable time is always required for mixing 
paint, stains, fillers, wax and other incidentals that 
are not figured in with above brushing time. There 
are four rooms and bath in the bungalow being figured, 
so add 5 hours' time. 



THE ESTIMATE COMPLETE FOR INTERIOR 
OF FIGURE 2 

Material prices and the wage scale of 50c per hour 
used here will necessarily change to fit local condi- 
tions, but the method of figuring should remain the 
same anywhere. 

MATERIAL COST 



WALLS AND CEILINGS 

Putty, 2 lbs at 

Varnish size — 1^ gals, benzine. . .' 
1^4 gals, varnish...' 
Flat Lead Paint — 

200 lbs. white lead ' 

6 gals, turpentine ' 

2 lbs. color ' 

Starch, 4 lbs ' 

FLOOKS 

Paste filler— 24 lbs ' 

% gal. turpentine .... * 

Shellac, white, 2% gals ' 

Varnish, floor, 2 gals ' 

Wax — Beeswax, 2 lbs ' 

Turpentine, 2 gals ' 

Ammonia, 1 oz ' 

THE WOOD TEIM 

Filler, liquid, 4 gals ' 

Stain, 4:^2 gals ' 

Wax — Beeswax, 8 lbs ' 

Turpentine, 4 gals * 

Ammonia, 8 oz ' 



^ .031/2 

.08 
2.00 

.08 
.70 
.25 
.05 

.12 

.70 
1.50 
2.50 

.35 

.70 



.90 

1.20 

.35 

.70 



5 .07 

.10 

2.50 

16.00 

4.20 

.50 

.20 



,35 
75 
,00 
,70 
,40 
,10 



3.60 
5.40 

2.80 

2.80 

.50 



$23.57 



$14.18 



$15.10 



Total material cost $52.85 



MAKING ESTIMATE FOR INTERIOR DECORATING 97 
LABOR COST 

WALLS AND CEILINGS 

Puttying cracks 4 hrs. 

Sizing 29 '' 

Painting 38 '' 

Stippling 19 '' 

Starching 14 V2 ' ' 104V2 hrs. 

FLOORS 

Filling and wiping 13 " 

Sandpapering 3% ' ' 

Shellacing 14 '' 

Varnishing 14 . ' ' 

Waxing 5 ' ' 

Polishing 61/2 '' 56 hrs. 

INTERIOR TRIM 

Staining and wiping 11 " 

Filling and wiping 29 ' ' 

Sandpapering 7% '' 

Waxing 11 '' SSVa hrs. 

Mixing paint, size, stain, etc 5 hrs. 

Total time 224 hrs. 

Total labor cost, 224 hrs. at 50c per hr $112.00 

OVERHEAD EXPENSE 

Add labor cost ($112.00) and material cost ($52.85) 

together and take 15% of it, equals 24.72 

PROFIT 

Add as profit whatever amount you think you ought to 
have, 10, 20 or 50% of the labor cost and material 
cost. In this estimate we will take 50% for profit. 
Add labor cost ($112.00) and material cost ($52.85) 
together; the sum equals $164.85. Take 50% of 
this, equals 84.42 

Price to charge customer $273.99 



CHAPTER VI 
PRICES AND PRICTNa 

What Is a Job Worth? — Who is responsible if you 
are making less profit out of the painting business 
than you ought to make? If you complain that it is 
impossible to get good prices for work; that people 
will not pay what painting is worth, and that you are 
compelled to cut your prices below a living profit 
basis in order to get any work to do, you are mistaken. 
You believe that you are stating facts; you are per- 
fectly honest in thinking you are compelled to cut 
prices away below what you know you ought to ask. 
You are fully persuaded that people want cheap work 
and low prices and, in consequence of these beliefs, 
you constantly endeavor to reduce the prices on work 
you figure to the lowest possible minimum, even though 
you cannot then do the work honestly and make a 
profit. There is only one way to get prices and that 
is to ask them. We are often fighting competition 
that does not exist, and trying to meet quotations that 
have not been given by competitors. 

Some people think it is shrewd buying to try to 
give the impression that they can get their work done 
for a lower price by a competitor whom you know to 
be a quality man and a careful estimator and then 
to say they would like to give you the job, but do not 
feel justified in doing so unless you can meet the other 
man's figure. Don't be misled by any such game. 
If you have estimated the work carefully and are sat- 



PRICES AND PRICING 99 

isfied that your price is right, that you must sacrifice 
your profit if you take the work at a lower price, stick 
to your figure even though you lose the job. It is 
better to let somebody else get the work than to take 
it at a figure which will not yield you a fair profit. 
There are worries enough and chances for something 
to go wrong on every job. You may be compelled to 
do parts of it over again in order to give your cus- 
tomer the kind of a job you must to satisfy him and 
to maintain your reputation. You can 't afford to add 
the worry of trying to make the job yield a profit 
when you know the original price was too low. And 
you cannot afford to take work that does not yield a 
profit; might better go fishing. A contractor whose 
business is down to the dead level of price competi- 
tion will never get it back to a profitable basis unless 
he regains his nerve and asks the prices he ought to 
get. 

First-class work at a profit is the standard to estab- 
lish and then live up to it. People are not going to 
tell you that your prices are too low ; they are not 
going to insist that you shall make a living profit if 
you seem determined to do without it. But they will 
not respect you any more because you ask cheap prices, 
and they will not believe they are getting as good 
workmanship or material as they would expect if they 
paid you a fair price. Every jol) is worth all it costs 
and a profit. All it costs — don't forget that. Not 
only labor and materials, but all the overhead charges 
— ^the percentage added to take care of the running 
expenses of the business — go to make up the cost of 
the job. You are not doing justice to yourself until 
you get all the job costs and a reasonable profit in 
addition. 



100 ESTIMATES, COSTS AND PROFITS 

There are those who are so anxious to get their work 
done cheap that they have no thought of quality. To 
get their work you have to cut prices below the figures 
that will enable you to give an honest job. Then you 
get the reputation of being a cheap man. Competi- 
tors, finding you are determined to cut the profit out 
of bids in order to get the work away from them, re- 
taliate in the same way, and before long every painter 
in the town will be doing work so cheap that there is 
no profit in it. Nobody will be making a fair living 
out of the painting business ; no one will have the 
respect of the business men of the town and the paint- 
ers will lose credit with supply houses. The end of 
such cut-throat competition is usually bankruptcy. It 
does not pay. 

A large proportion of the community is willing to 
pay fair prices for anything, whether it is a new coat 
to wear or a new coat of paint for the house. You 
must make people feel satisfied that they are getting 
good value for the money they spend. They want 
quality first and you cannot satisfy them by giving 
cheap price and low value. If you can convince these 
people that you will give them good materials and 
good workmanship, you can get a good price — all that 
the work costs and a profit. You must have the cour- 
age to ask a profit-bringing price. 

Get the reputation for doing good work, for always 
carrying out your contracts to the letter and a little 
more. When people question the price you ask or 
when they draw comparisons between your figures and 
those some cheaper competitor offers, take the stand 
that you have a reputation for the quality of your 
work and that you cannot afford to do anything but 
the best. Tell them the prices you ask are the lowest 



PRICES AND PRICING 101 

that can be given if they want reliable work. Point 
out, if necessary, houses that have been painted with 
cheap materials and in a slip-shod way and show how 
soon they go to pieces, and then call attention to jobs 
you have done that have stood up well and looked well 
long after the cheap work has gone to pieces. Argu- 
ments like this are convincing, if you advance them 
earnestly and show that you mean to give full value 
in return for the price you ask. 

What Price Shall I Charge f — A careful study of 
the estimating methods given in this volume will en- 
able you to figure in a sufficiently accurate manner 
the cost of a job. That much accomplished, make up 
a list of materials ypu, use generally with prices in 
large and small lots in pound, pint, quart, half -gallon, 
five gallon and barrel lots. Keep this schedule of 
prices correct by revising the figures as changes occur. 

With the correct amount of material needed and the 
right prices before you all the time, you have the basis 
upon which to figure the cost of a job. After this, 
have the courage to add to this cost 15% (or some 
figure) to cover your overhead expense, and 20% (or 
some figure) for profit. You then have a fair price in 
the total of these items to submit to the property 
owner. Material Cost, Labor Cost, Overhead Expense 
and Profit — these are the necessary elements into which 
to divide the cost of any work. 

Every job is ivorth all it costs — a7id a profit. 

SECTION 13. THE PRICE PER SQUARE YARD 

Contractors of long experience often arrive finally 
at a price to charge per square yard or per square 
(10x10 ft.), which includes all in one figure the ma- 



102 ESTIMATES, COSTS AND PROFITS 

terial cost, Jabor cost, overhead expense and profit. 
Jnst what this price should be depends, of course, on 
market conditions under which your business is con- 
ducted. Each contractor must figure out the price or 
rate that is correct for his own business. The price to 
charge per square yard or per square (10x10 ft.) 
must necessarily be greater in cities where the wage 
scale is 65c or 70c per hour than where a 50c scale is 
in force. It will even be greater or less as between 
different contractors in the same town because, while 
the material and labor costs are about the same to 
each, their overhead expenses are quite different. One 
may pay a high rent and another little or no rent; 
one may employ a clerk and use an auto truck, while 
his competitors tote their equipment about with a 
' ' One-hoss shay, " or a push-cart. The contractor who 
uses the auto truck usually carries on a much larger 
business than others and so his cartage and other 
overhead expenses often are not proportionately much 
greater for each job. 

How to arrive at or figure out this price per square 
yard is the next point of interest. 

Taking estimates for the exterior painting of the 
two houses shown in this book, as a basis from which 
to work, the price per square yard would be figured 
as below. 

Measurements of the houses are 4,577 sq. ft. for one 
and 3,573 sq. ft. for the other. Reduce the measure 
to square yard basis by dividing each figure by 9 (9 sq. 
ft. equals 1 sq. yd.) and you will find that one house 
measures 508 sq. yds. and the other 397 sq. yds. 

The estimate given in Chapter IV for the house 
having 508 sq. yds. of surface to paint shows that the 
price for the job to be submitted to the owner is $95.40. 



PRICES AND PRICING 



103 



The price for the other house having 397 sq. yds. 
should be about $72.49. 

Find the price per square yard by dividing the price 
in dollars by the number of square yards : 
$95.40 divided by 508^:16.81+ ; call it 17c per sq. yd. 
$72.49 divided by 397=18.25+ ; call it 18c per sq. yd. 

It would not be well to use either 17c or 18c per 
square yard as a price to charge for all work, because 
both of the houses from which these prices were taken 
are rather plain and not very large. The price you 
decide to charge for all work should be an average 
figure based on different kinds of work — both large 
and small, fancy trimmed and plain houses. 

Let us assume we have a record of painting jobs 
that figure for a large house with fancy cornice, gable, 
grills, shingle belt, etc., a price of 26c per sq. yd. ; a 
large house, plain trim, with a price of 22c per sq. yd. ; 
a brick building with a price of 24c per sq. yd., and 
a cottage with fancy trim with a price of 20c per sq. 
yd. in addition to the two prices of 17c and 18c per 
sq. yd. as per the estimates referred to. 

To arrive at a fair average price to charge per square 
yard, add all the above prices together: 

1.7c per square yard 

i8c 

26c 

22c 

24c 

20c 

127" 



Now divide 127 by 6, which is the number of prices 
averaged ; 127 divided by 6 equals 21c per sq. yd. as 



104 ESTIMATES, COSTS AND PROFITS 

the price to charge for two-coat work. Under present 
high prices, 28c to 30c per square yard for two-coat 
work is more nearly correct. 

SECTION 14. THE PRICES OTHERS CHARGE 

Time and Material Basis. — Chicago contractors add 
15c to the present wage scale of 72y2C per hour for 
the time charge on a job, making 87y2C per hour per 
man. 

Material is charged against the job at retail prices 
and nets some profit to the contractor. 

Here is a price schedule adopted by the Master 
Painters and Decorators' Association of Jasper 
County, Missouri. Generally the prices are sufficient, 
except those for outside painting one, two and three 
coats. Under present high material costs these figures 
should no doubt be raised by at least two or three cents 
per square yard. 

Prices for Painting. — (Including good suitable ma- 
terials.) 

Per Yard 

For one coat shellac $ .15 

For one coat painting or priming 15 

For two coats of paint 28 

For three coats of paint 35 

For each additional coat 12 

For party colors, each additional color 06 

GLOSS WHITE (nEW WORK) 

Three coats of paint, one of gloss 60 

Two coats of paint, one of gloss 45 

One coat of shellac, three of paint and two of gloss .85 
If rubbed with pumice and water, charge extra . . .35 



PRICES AND PRICING 105 

OLD PAINTED WOODWORK — INSIDE 

For each coat of gloss 20 

Two coats of paint 25 

Three coats of paint 30 

Each additional coat 12 

LATTICE WORK 

Three coats of paint 35 

BRICK WORK (new) 

In stone, slate or other colors, one coat paint 18 

Two coats paint and puttying 25 

Three coats paint 33 

Each additional coat 11 

Oiling and penciling 25 

Two coats paint and penciling 35 

Three coats paint and penciling 45 

OLD PAINTED BRICK WORK 

One coat paint (common color) 15 

Two coats paint (common color) , 25 

Three coats (common color) 32 

SANDING (new WORK) 

Two coats of paint, one of sand 35 

Three coats of paint, one of sand 44 

OLD sanded work 

Two coats paint, one of sand 40 

metal roofing (new) 

One coat mineral paint 10 

Two coats mineral paint 18 

Three coats mineral paint 25 

If done with boiled oil, extra 05 



106 ESTIMATES, COSTS AND PROFITS 

OLD METAL ROOFING 

One coat paint 10 

Two coats paint 15 

Three coats paint 18 

If done with boiled oil, extra 05 

Cleaning off, extra 05 

SMOOTH WALL PAINTING (nEW INSIDE ) 

One coat size, two coats paint 30 

One coat size, three coats paint 37 

Each additional coat paint, Var. col 15 

Stippling, extra 10 

Extra fine work to be charged extra. 

SAND WALL PAINTING (nEW FINISH) 

One coat size, two coats paint 40 

One coat size, three coats paint 55 

Each additional coat paint 15 

VARNISHING 

Per coat 15 

WATER COLOR WALL WASH 

One coat size, one coat water color 15 

GRAINING AND MARBLING 

Oak, two coats paint, one of varnish, graining . . 

$0.35 to .60 

Oak, three coats paint, grained, one coat varnish . 

$0.45 to 1.00 

Each additional coat varnish 10 

Maple, rosewood, walnut and mahogany, one- 
third added to above prices; for rough stuffing 
pumice stone work and polishing, charge extra. 
Marbling $0.50 to 2.00 



PRICES AND PRICING 107 



WAX FLOORS 



No. 1. One coat filler, one coat varnish, one coat 

wax, well rubbed in with burlap 50 

No. 2. Filled with one coat filler, two coats wax 
floor polish and well rubbed with weighted 
brushes .50 

CLOSE GRAINED WOOD NOT REQUIRING PASTE FILLER 

Finish No. 1. One coat liquid filler ; one coat 

hard oil ; putty and sandpaper between coats .25 

Finish No. 2. One coat stain; one coat shellac; 
two coats hard oil ; putty and sandpaper be- 
tween coats 40 

Finish No. 3. One coat oil stain ; one coat shel- 
lac; two coats interior varnish; putty and 

sandpaper between coats 45 

Last coat brush rubbed with pumice stone 

and oil 10 

If same is to be rubbed with felt or burlap, 
add 10c per yard extra. For each additional 
coat of varnish, add 12c. 

OPEN GRAINED WOOD REQUIRING PASTE FILLER 

Finish No. 1. Ona coat filler, any color; one 
coat shellac; sandpaper between coats; two 
coats hard oil (not rubbed) 45 

Finish No. 2. One coat filler; one coat shellac; 
two coats interior varnish ; putty and sand- 
paper between coats; brush rubbed with 
pumice stone and oil 75 

Finish No. 3. One coat filler ; two coats shellac ; 
two coats rubbing varnish ; putty and sand- 
paper between shellac coats; rubbed with 



108 ESTIMATES, COSTS AND PROFITS 

steel wool between varnish coats. Last coat 
rubbed with pumice stone and oil to dead 

smooth finish 1.00 

Each additional coat of varnish add 20 

Wax Finish. Close grained wood, No. 1. One 
coat stain; one coat shellac; one coat wax; 
sandpaper and putty between coats 35 

Wax Finish No. 2. Oak or opened grained 

woods ; filling extra 15 

CANVAS AND PAINT ON WALLS AND CEILINGS 

No. 1. One coat size ; three coats paint 1.00 

No. 2. Glazing in colors 25 

All work for which measurement is not an adequate 
allowance, to be charged at the rate of 75c per hour 
for ordinary skilled labor, with material added. 

Deductions on contract work to be allowed in same 
proportions as estimated on. 

Additions to contract work to be estimated as per 
schedule. 

The following rules of measurements are to be ob- 
served in connection with the price list given above, 
as all the prices given are based on them and have 
been adopted in connection with this system of meas- 
urements. 

Eule I. — A tape line shall be the standard rule to 
measure with, and in measuring it shall be pressed 
into and around all mouldings, quirks, crevices, angles, 
etc., both as to length and width. 

Rule II. — For exterior brick and wooden walls, mul- 
tiply height by the width, and if there are any open- 
ings they shall be added according to rules V and VII. 

Rule III. — Plain cornices, on exterior of buildings 



PRICES AND PRICING 109 

two stories high, where walls are to be painted, mul- 
tiply length by one and one-half times girth; where 
walls are not to be painted, multiply length by three 
times the girth ; on buildings of three or more stories, 
add one girth for each story in each case. On brack- 
eted and dentiled cornices, increase measurement in 
same proportion as the above. 

Rule IV. — Doors and window frames and casings, 
plain, not exceeding six inches in girth, allow twelve 
inches for girth and double girth for all in excess of 
six inches and multiply by length all around. Den- 
tiled, paneled, bracketed or carved work to be added 
to the above measurment in the same proportion. 

Rule V. — Doors, sheathing or batten doors, measure 
square and add one inch for each bead or batten. 
Panel doors, measure length, multiply by twice the 
width and measure all edges double on account of 
lock face and butts. All spaces covered with glass to 
be measured solid. 

Rule VI. — Window sash, plain, double square meas- 
ure; fancy sash, triple measure. All spaces covered 
with glass measured solid. 

Rule VII. — Base wainscoting and dado paneled or 
beaded, double square measure. Dentils or carving on 
same to be added to the above measure in same pro- 
portion. 

Rule VIII. — Iron screens or bars of windows or 
doorways. The square of one side multiplied four to 
six times. Grille work in proportion. 

Rule IX. — Balustrades exteriors, fancy or turned, 
four times the height of one side with top surface of 
upper and lower rail added; where plain, round or 
square balusters are used, two and one-half times one 
side with top of upper and lower rail added. 



110 ESTIMATES, COSTS AND PROFITS 

Rule X. — Columns. The shaft when plain, the 
length by one and one-half times; the girth, when 
fluted, the length by two times the girth. Capitals 
plain, three times the girth. Foliated, ten times girth. 
Base, the height by twice the largest girth. 

Rule XI. — Lattice work, when painted one side, 
three times height by length ; when painted both sides, 
five times one side. 

Rule XII. — Roofs. Flat tin roofs, square measure ; 
one-half pitch, double square measure, other pitches 
in proportion. Shingle roofs, add ten per cent to the 
square measure to avoid counting edges of butts. This 
same rule applies to shingle walls or gables. 

Rule XIII. — All beaded sheathing used for ceilings 
and partitions to be measured one and a half times 
square measure. 

Rule XIV. — Hand-rails, balusters, stairs, steps and 
stringers. Double the superficial measure if two bal- 
usters to each tread; if three balusters to each tread, 
add one measure to same. Fancy balusters in pro- 
portion. 

Rule XV. — Floors, square measurement. 

Rule XVI. — Fences. Common picket, double meas- 
ure; common tight board, double rail side. Fancy 
picket, add in proportion. 

Rule XVII. — Plaster painting or tinting; if finish 
is of hard wood or w^here color has to be cut in care- 
fully, make no allowance for openings, but if finish is 
to be painted, one-half of openings may be deducted. 

Rule XVIII. — Interior plaster or wood cornices, if 
moulded, double measure ; if dentiled, triple measure. 

Rule XIX. — Mantels, when plain, triple measure, 
no deduction for openings ; when moulded and carved, 
five to ten times square measurement. 



PRICES AND PRICING 111 

Rule XX. — Mouldings, beads and strips of less than 
four inches in width, when separated from other 
finish; allow one foot for width. 

Rule XXI. — Stamped iron or steel ceilings, double 
measure; corrugated ceilings, one and one-half times 
square measure. 

Rule XXII. — Staging or scaffolding, where neces- 
sary to have carpenter build same, add cost of same 
in addition to foregoing rules. 

PAINTING PRICES IN TORONTO 

The Master House Painters and Decorators' Asso- 
ciation of Toronto some time ago appointed a commit- 
tee for the purpose of preparing a revised price list 
for various classes of painters ' work, including paper- 
hanging, to be used as a basis for charges for extra- 
work, for work done without contract price or for 
determining values in cases of suits at law. The old 
price list had become obsolete because of increased 
costs of labor and material. 

The revised price list was adopted February, 1917, 
and should prove of interest to master painters every- 
where, as a basis for comparison. The price list fol- 
lows herewith: 

FLOOR FINISHING 

Filling, and one coat of oil wiped off, per yard . $ .30 
Filling and one coat of varnish or shellac, per 

yard 40 

Filling and two coats of varnish or shellac, per 

yard 55 

If rubbed to a dull finish, add, per yard 15 

If filled, shellaced and one coat of wax and 

polished, per yard 35 



112 ESTIMATES, COSTS AND PROFITS 

If finished with two coats, per yard 45 

Oiling floors, one coat, per yard 10 

Each additional coat, add, per yard 05 

If rubbed with cloths, add, per yard 05 

Imitations, grounding, extra. 

GRAINING 

Oak graining, with one coat of varnish, per yd. .50 
Other wood grained in distemper, per yard 60 

MARBLING 

From 60c to $1.00 a yard, according to marble 

imitated. 

If varnished, add, per coat, per yard 20 

Grounding, graining and varnishing front 

doors, each $3.50 to $6.00. 
Burning off and preparing for same, extra. 

KALSOMINING AND TINTING 

Kalsomining plain surfaces, per yard 12^ 

Tinting walls and ceilings, per yard 15 

Cornice, per foot, run, one color, not more than 

12 inch girth 05 

Each additional color add, per foot run 03 

Center pieces, one tint, each 50c to $1.50. 
If picked out in colors, each $1.00 to $3.00. 
One coat of wall varnish on walls and ceilings, 

per yard 12% 

Lime white washing, one coat, per yard 07 

Lime white washing, two coats, per yard 10 

STENCILING 

Stencil borders, not over 12 inches wide, one 

color, per foot run 10 



TRICES AND TPwICING 113 



For each additional color 05 

Charge additional for running lines. 



SIZING AND GILDING 

Plain surfaces, per book 1.50 

Mouldings or enrichments on ceilings, walls or 

woodwork, $1.75 to $2.25 according to 

amount of cutting required. 

METALLING AND OXIDIZING 

Metalling in aluminum or other metal leaf on 
plain or smooth surfaces, including sizing, 

per book 75 

If lacquered or oxidized, add 25 

The same on burlap or other woven fabrics. . 1.00 
The same if done in relief work, such as orna- 
mental columns, cornices, caps or trusses. 1.50 

BRONZING 

Bronzing or painting coils or radiators, in ordi- 
nary, common bronzes, or painting in plain 
colors, according to size, each $1.00 to 
$3.00. 

NEW WORK 

Priming, including knotting, per super yard. .15 
Priming, stopping and second coating, per yd. .30 

Ordinary three-coat work, per yard 45 

Each additional coat, per yard 15 

If more than two colors are used, for each addi- 
tional color add, per yard 05 

Flatting work, per yard 20 



114 ESTIMATES, COSTS AND I'KOFITS 

OLD WORK 

Stopping, cleaning, and one coat, one color, per 

square yard ' .20 

Each additional coat, per square yard 15 

For each additional color add, per square yard . .05 

ENAMELING 

One coat and including three coats of ground 

rubbed between coats, per square yard. . . .75 
The same on four coats of ground, per square 

yard 85 

The same on five coats, per square yard 95 

Each additional coat of enamel, per square 

yard 25 

If rubbed to a dull finish, add, per square yard .40 
If rubbed to a piano finish, add, per square 

yard .60 

WALL PAINTING 

Sizing and one coat of paint, per yard 20 

Each additional coat, per yard 15 

If stippled on last coat, add, per yard 05 

If stippled on last two coats, add, per yard. . .10 
Painting burlap or other woven fabrics, for 

each coat, per yard 20 

VARNISHING AND SHELLACING 

For one coat of best oak varnish or shellac, per 

yard 20 

For two coats rubbed between coats, per yard . .40 
If special varnish is used, add, per yard 05 



PRICES AND PRICING 115 

WALL PAPER 

Twice sized and one coat of varnish, per yard . .30 

Same, with two coats of varnish, per yard 45 

Removing old varnish or paint, or cleaning 
woodwork. Time and material will be 
charged. Ordinary cleaning, washing or 
oiling woodwork, per yard 10 

NATURAL WOOD FINISHING 

Oiling or staining on woods, per yard 15 

Oiling or staining and one coat of wax, per 

yard 30 

Filling, one coat, per yard 25 

Filling and one coat of varnish or shellac, per 

yard 45 

Filling and two coats, per yard 60 

Filling and three coats, per yard 75 

If rubbed to a dull finish, with pumice stone 

and oil, add, per yard 40 

If dentalled, carved or small panel, special fine 

or piano finished work, time and materials. 
Filling and one coat of wax, rubbed, per yard. .40 
Filling, one coat of hard oil and one coat of 

wax, per yard 55 

Each additional coat of wax, add, per yard. . .10 

GLAZING AND WIPING OFF OR IVORY EFFECTS 

On plain surfaces, grounding extra, per yard. .25 

Same, if done in relief work, such as orna- 
mented friezes, centre pieces, flatted colors, 
extra. 

Cornices, moulding, etc., up to 9 inch girth, per 

foot run, including grounding 25 

From 9 to 18 inch 40 



116 ESTIMATES, COSTS AND PROFITS 

From 15 to 30 inch (including gronnclings) . . .60 
Filling, painting, enamelling and gilded lines 
on baths, from $5.00 to $10.00. 

PAPERING 

Common papers, trimmed one edge, per roll . . .25 

Paper up to 75c, trimmed both edges 40 

Ingrains and velours 50 

Silk fibres, hand made, etc 60 

Two-third work, add, per roll 10 

Crown w^ork, 10c per crown, or, per yard 20 

Paneling — Charge for time. 

Pressed paper, per roll, 75c to $1.50. 

Cutting and hanging marble, in blocks, size 

42x21, per roll 1.00 

Same, 21x11, per roll 1.25 

Lining out, twice sizing and one coat of var- 
nish, per yard 40 

Same, with two coats of varnish, per yard. . . .55 

Hanging burlaps, per square yard 30 

Same, dyed or stained or colored, per square 

yard 30 

Japanese papers, sanitas, table oilcloths, etc., 

per square yard 35 

Ordinary border, up to 18 inches wide, per 

yard, 5c to 10c. 
Jobbing work in paperhanging, etc., per hour. .60 
Hanging prepared cotton, muslin, etc., per 

yard 25 

OUTSIDE 

Dipping shingles, per square yard 35 

Brush coating 20 

Additional coat 15 



PRICES AND rRICIXG 117 

OUTSIDE PAINTING 

Old outside painting on buildings, verandas, 
fences, etc, : 

1 coat, per yard 20 

2 coats, per yard 35 

Brickwork : 

1 coat, per yard 15 

2 coats, per yard 25 

Each additional coat, per yard 10 

Sanding : 

1 coat of paint and sanding, per yard 40 

Venetian Blinds : 

9 

Average size, 1 coat, per pair 75 

Two coats, per pair 1.25 

3 coats, per pair 1.75 

Exterior Painting Prices. — One contractor uses the 
price schedule below : Use the tape line and measure 
carefully the cornices, mouldings, etc., following hol- 
lows, rounds and edges. Add 20 per cent for ordi- 
nary weatherboarding and edges of door and window 
frames. Also make allowance for parts difficult to 
reach. Prices should be figured as follows : 

1 coat, per square yard, 12c to 18c 

2 coats, '' " ''22c to 28c 

3 coats, " '' '' 28c to 35c 

Brick walls, new, three coats, per square yard, 28c 
to 35c. 

Brick walls, old, two coats, per square yard, 20c 
to 30c. 

Brick penciling, per square yard, 12c to 15c. 



118 ESTIMATES, COSTS AND PROFITS 

Where scaffolding is necessary, or the work is other- 
wise difficult of reach, or where color of higher cost 
than the ordinary is in demand, you must exercise 
your own judgment in figuring the extra time and 
expense. Also in the case of repainting, be very 
careful to test the old paint, no matter how well and 
solid it may look, because it very often happens that 
the old paint is loose from lack of binder in the origi- 
nal priming, and the new paint, on drying, in con- 
tracting, loosens the old coating, causing scaling, and 
then the new paint is blamed for the trouble. When 
the old paint has cracked, scaled or blistered, take 
this into consideration and figure on its removal. Also 
examine window sash to see how the putty is, and 
blind slats to see whether they are stuck fast and 
difficult to paint. 

The 1916 average price charged by Chicago painters 
for two-coat work outside was $2.00 per square ; 1918 
prices were raised to $2.50 and $3.00. 

Nineteen contractors at Loveland, Colo., agreed to 
maintain during 1915 the price schedule below and 
furnish stock, except where noted to the contrary : 

Day Work. — Wages at 50c per hour. 

All Preparatory Work. — Wages, 62i/2C per hour. 

Roof Work.—Vev square (10x10 ft.), $1.50 and 
$2.50. 

Exterior Painting. — To furnish stock, 1 coat, 12c 
per sq. yd. ; 2 coats, 22c ; 3 coats, 30c. 

Owner to furnish stock, 1 coat, 7c per sq. yd. ; 2 
coats, 13c; 3 coats, 18c. 

A master painter of many years' experience gives 
these as average prices for use outside of large cities, 
all stock furnished by contractor : 



PRICES AND PRICING 119 

Painting New Exterior Wood Building: 
Priming coat and putty, 14c per sq. yd. 
Two coats and putty, 22c '' '* " 
Three coats and putty, 32c '* " ** 

Painting Old Exterior Wood Building: 

One coat, 16c per sq. yd. 

Two coats, 22c " " '' 

Painting Blinds: 

One coat, 44c per pair 

Two coats, 60c '' '' 

Three coats, 90c '' ** , 

Painting Tin Roofs: 

One coat, 10c per sq. yd. 

Two coats, 18c ^' '' " 

Three coats, 24c '' '' '' 

Painting Metal Gutters, Valleys: 

One coat, 3c per running foot 

Two coats, 4c " 

Three coats, 6c ** ** ** 

Painting Shingle Roof: 

One coat, 14c per sq. yd. 

Two coats, 26c '' '' '' 

Three coats, 40c '* '- ** 

Staining Shingles: 

1 coat, dipped, $5.00 per 1,000 shingles. 
' 1 coat, brushed on roof, $5.00 per 1,000 shingles. 

Window Sash: 

Small sash, one coat, 25c each 

Small sash, two coats, 30c each 



120 ESTIMATES, COSTS AND PROFITS 

Window Sash — Continued. 

Small sasli, three coats, 45c each 

Large sash, one coat, 35c each 

Large sash, two coats, 40c each 

Large sash, three coats, 55c each 

Painting New Brick Walls: 

One coat, 18c per sq. yd. 

Two coats, 24c per sq. yd. 

Three coats, 38c per sq. yd. 

Painting Old Brick Walls: 

One coat, 14c per sq. yd. 

Two coats, 28c per sq. yd. 

Three coats, 50c per sq. yd. 

Interior Decorating Prices. — Nineteen contractors 
at Loveland, Colo., agreed to maintain during 1915 
the below price schedule and to furnish stock: 

Day Work. 

"Wages, 50c per hour. 
All Preparatory Work. 

Wages, 621/2C per hour. 

Painting Wood Trim — Gloss. 

One coat, 15c per sq. yd. 

Two coats, 25c per sq. yd. 

Painting Wood Trim — Flat. 

One coat, 17c per sq. yd. 

Two coats, 28c per sq. yd. 

Three coats, 35c per sq. yd. 

Graining (excluding ground and varnish). 
45c per square yard. 



PRICES AND PRICING 121 

Painting Walls — Oil Paint. 

One coat, 12c per sq. yd. 

Two coats, 22c per sq. yd. 

Three coats, 30c per sq. yd. 

Tinting Walls — Water Color. 

Smooth walls, ^1.00 per 100 sq. ft. 

Sand finish, rough, 1.25 per 100 sq. ft. 

Stencil Yiork. 

65c per hour. 

Enameling. 

One coat, 25c per sq. yd. 

Four coats, rubbed, 66c per sq. yd. 

Two coats, 50c per sq. yd. 

Yarnishing. 

Two coats, 35c per sq. yd. 

Three coats, 48c per sq. yd. 

Four coats, 60c per sq. yd. 

Staining. 

15c per square yard. 

Paperhanging. 

Common lap work, 35c per roll 

Nip work, 50c per double roll 

Tiling and dull washable paper, 50c per double roll 

Leatherette, pressed goods, white $1.25 per double roll 

Leatherette, pressed goods, colors, 1.00 per double roll 

Metallics, grass cloth, silk, 75c per double roll 

Wire edge, 30-in. goods, 75c per bolt 

Brush tints, 2.00 per bolt 

Upper and lower, advance, 10c per roll 

Sanitas, 25c per yard 



122 ESTIMATES, COSTS AND PROFITS 

Burlap, 20c per yard 

Smooth crowns, 5c each 

Pressed crowns, 7%^ each 

Cut out borders less than 9 in., 5c to 7c per yd. 

Cut out borders over 9 in., 7c to 15c per yd. 

Base borders and liners, 2c per yd. 

An experienced contractor has this to say about 
prices : 

On interior work, measure the size of the rooms, if 
walls and ceilings are to be painted, but do not make 
any deductions for windows and doors. Figure on 
square yards of surface and set your price accord- 
ingly. If the rooms are papered, and only the wood- 
work is to be painted, measure the baseboards, win- 
dow frames, doors and door frames, and figure the 
sash as if solid. For interior work on walls and ceil- 
ing, new work, three coats, the price should not be 
less than 30c per square yard; for old work, two 
coats, 24c. If only the woodwork is to be painted, 
new work, three coats, 35c to 40c per yard ; while on 
old work, two coats, 28c to 32c will be none too much, 
according to condition of surface. 

Another contractor made up this list : 

Sandpapering and Puttying. 
12c per square yard. 

Floor Finishing, 

Filled, and one coat varnish, 30c per sq. yd. 

Filled, and two coats varnish, 40c ' ' " ' ' 

Filled, and waxed coat, 35c " '' '' 

Same, with two coats wax, 45c '^ '' ** 

Waxing and polishing, 18c '' '' *' 



PRICES AND PRICING 



123 



Filled, one coat varnish, rubbed with 
pumice stone and oil, 

Same, with two coats varnish, 

Parquetry floor, filled, varnished, 
one coat, puttied and rubbed, 

Same, two coats varnish, 

New floor, one coat shellac, varnish, 
or wax. 

New floor, two coats shellac, var- 
nish, or wax. 

New floor, three coats shellac, var 
nish, or wax. 

One coat linseed oil, 

Two coats linseed oil. 



40c 








55c 








45c 








60c 








14c 








30c 








ar- 
42c 








10c 








1/1 /» 









varnish or 



16c 



first-class varnish or 



Finishing Interior Trim. 

One coat first-class 

shellac, 
Two coats 

shellac. 
Staining, 
Oiling, 

One coat wax, 
Two coats wax 
Polishing, 
Filling, two coats of hard oil rubbed 

with steel wool, 80c 

Filling, one coat hard oil and one 

coat wax, 50c 

Filling and one coat varnish, 20c 

Filling and two coats varnish, 28c 

Filling and two coats varnish and 

rubbed with pumice stone and 

water, 50c 









<c 



30c 








12c 








12c 








12c 








22c 








10c 









il 
(( 
(( 



a 



124 ESTIMATES, COSTS AND PROFITS 

Stairs and Open Spindle Bail. 

Filling and two coats varnish, $8.00 to $10.00 for 
the job. 

Filling and one coat varnish, $5.00 to $8.00 for 
the job. 

Filling Any Trim. 

Open grain wood, paste filler, 30c per sq. yd. 

Close grain wood, liquid filler or 
shellac, 14c '' '' '' 

Steel wool light rub or sandpaper- 
ing, 12c 

Rubbing to satin finish, 20c 



({ (( a 



Radiators. 

Painting, one coat, 80c to $1.00 each 

Bronzing, one coat, same price. 

Glazing and wiping out, 40c to 60c each 



Enamel. 

3 Ground coats, sanded and 1 coat enamel. . 

4 Ground coats, sanded and 1 coat enamel. . 

5 Ground coats, sanded and 1 coat enamel. . 

4 Ground coats, sanded and 2 coats enamel. 

5 Ground coats, sanded and 2 coats enamel. 



.80 per sq. yd. 
.$1.00 per sq. yd. 
. 1.20 per sq. yd. 
. 1.25 per sq. yd. 
. 1.50 per sq. yd. 



Rubbing to satin finish with pumice and water, 
50c per square yard. 

Painting Walls. 

Size and one coat paint, 18c per sq. yd. 

Size and two coats paint, 30c '' " '' 

Size and three coats paint, 40c '' " " 

Stippling, one coat, 6c '' *' "' 

Stippling, two coats, 12c *' ** ** 



PRICES AND PRICING , 125 

Tiffany Glaze. 

One color (not including ground 
coats), 40c 



< ( < < ( ( 



<( 



Tiffany Glaze. 

Two colors (not including ground 
coats), 60c 

Tiffany Glaze. 

Four colors (not including ground 

coats), 80c '' '' '' 

Calcimining Walls. 

Smooth plaster, light tints and white, 7c per sq. yd. 
• Sand finish or rough, light tints and 

white, 12c 1^' ^'1 i; 

Ceilings, light tints and white, 12c 

One coat hard oil size, 10c 

Removing old calcimine, wallpaper, filling cracks, 
etc., charge day work and material cost. 

Stenciling. 

1 color, 8 in. w^ide and smaller, 8c per lineal ft. 

2 colors, 8 in. wide and smaller, 12c 

1 color, larger than 8 in. wide, 10c 

2 colors, larger than 8 in. wide, 16c 






CHAPTER VII 

THE MODEEN PAINT SHOP— ITS MANAGEMENT 

Probably in no occupation is there greater oppor- 
tunity for waste of expensive material and more ex- 
pensive time than in that of the contracting painter 
and decorator. A correct shop system and shop prac- 
tice such as exists in many of the larger city estab- 
lishments may appear to require an unreasonable 
amount of labor doing details and petty tasks, and yet 
at the end of the season when the reckoning with the 
books comes, the shop system of many details gives 
a good account of itself; it may easily lay claim to 
having earned a generous portion of the profits. 

Have you ever gone into a shop employing quite 
a large number of men where the ' ' do and go-as-you- 
please" method (or lack of method) is in force and 
surveyed the ruins? The old saying, "What is every 
man 's business is no man 's business, ' ' must have been 
written after the author had witnessed a gang of paint- 
ers helping themselves in a shop guided by no system. 
Where only a dozen are employed, and no one man 
has charge of and is responsible for the materials and 
shop, no matter how orderly things were at the start, 
within a week chaos will reign; knives and paddles 
will be taken out of colors and jammed into white, light 
paint will be mixed in dark pots because all the pots 
are uncleaned; oil, benzine and turpentine taps will 
be left running; every paint strainer, if there are a 
dozen, will be choked up with skims; dirty oil and 

126 



THE MODERN PAINT SHOP— ITS MANAGEMENT 127 

turps will accumulate by the barrel and hard putty 
will lie around in five-pound lumps, while the waste 
skinned and fatty paint alone will probably exceed 
the value of several days' labor. And when several 
men get into the shop at once, what a waste of time 
at fifty or sixty cents per hour before they can find 
the material wanted, if indeed it is in the shop. 

The contractor with the low bid on a job is not 
always the one who has sacrificed his profit, but often 
is a man who by good system and management in the 
shop and on the job has cut down the cost of doing 
business to the minimum ; his bid is low, but his profit 
is there just the same. 

It is no small task to introduce an efficient shop sys- 
tem and practice where no order prevailed before. 
The great difficulty is the opposition of the journey- 
men. The erratic disposition of the painter is an ob- 
stacle to overcome; the character of his work seems 
to develop whatever of the Bohemian there is in his 
nature. In adopting a new system of shop manage- 
ment a firm and decided course must be determined 
on from the start. In introducing reforms, the con- 
tractor himself must bow to and obey the rules. The 
work of managing the shop cannot be successfully 
delegated to one man until it becomes known that 
the system is part of the establishment, that to obey 
the rules is a condition of employment, and to disre- 
gard them means the scratching off of names from 
the payroll. 

Every shop of whatever size needs a carefully 
planned system of management. The shop which 
cares for but three to six men would naturally require 
only a simple shop arrangement and system. But 
at that, if a man is not employed to do all the mixing 



128 



ESTIMATES, COSTS AND PROFITS 



and care for the shop, an apprentice should be given 
the task. It will prove excellent training for him if 
carefully instructed and coached in habits of econ- 




FRO^T 
Figure 14. — A Paint Shop Plan. 



omy and cleanliness. It will give him a knowledge 
of materials and help to establish the good and close 
relations that ought to exist between master and ap- 
prentice. 



THE MODERN PAINT SHOP— ITS MANAGEMENT 129 

The shop plan here shown is that of a contractor in 
an Eastern city. A careful study of the arrangement 
easily shows that there is a place for everything and 
that everything is kept in its place. 

Order, method, cleanliness and compactness greet 
the eye from every quarter. This shop employs from 
forty to sixty men, and yet should they all call in the 
morning at the shop for ''orders," every man could 
be sent out fully equipped with tools and materials 
in fifteen minutes. Every pound of material and 
every measure of liquid would be charged on the 
books. The office force consists of one clerk and the 
proprietor. 

The paint shop is about 40x50 feet, and on one side 
are closets for storing colors, and on the other side 
lockers are provided for the use of the men. The gen- 
eral color of ceiling and woodwork is white. Each 
series of colors is kept in a special closet. Lemon, 
chrome, orange, raw sienna, several different kinds of 
ochre, and in fact everything pertaining to yellow, 
are conveniently kept in the same closet. A similar 
classification is made of the various greens, reds, 
browns, blues and other colors. The closets are about 
six feet high, quite deep, and of good width, with a 
shelf for each species of color, small cans on upper 
color closet, large kegs below. On the outside of the 
door of each shelf the name of the color is stenciled. 
Nothing larger than a five-pound package of color is 
placed in these closets. They contain an assortment 
of five, two, and one-pound cans. Most of the colors 
used in this shop are bought in packages of small size, 
excepting some of the ordinary colors used for shop 
mixing. The economy of buying colors in such small 
packages for a large shop may be questioned, but sup- 



130 ESTIMATES, COSTS AND PROFITS 

pose one of the men estimates that he will need ten 
pounds of umber for a job. He is given a five-pound 
can, a couple of two-pound cans, and a one-pound can. 
It is probable that he will use only seven or eight 
pounds of color. He is instructed to open the five- 
pound can first and generally a number of unopened 
cans would be returned. Had the man been given a 
ten-pound can, it would probably have dried up and 
been wasted. All materials are kept under lock and 
key in the custody of the shopman, and his word is 
law in regard to the care of material. The closets are 
so arranged that he is able to place his hand imme- 
diately on any particular material. 

Now, concerning the shopman, do not think for one 
moment that such a large shop can be looked after sys- 
tematically by a boy. Very few boys are systematic, 
and in addition, journeymen are not inclined to pay 
much attention to even a capable boy. 

The lockers for the men are numbered, and large 
enough to hold two pots and one or two suits of over- 
alls. Each man is supplied with a key, and a master- 
key for all of them is kept in the office. 

In the back of the shop is a large zinc-covered work 
and mixing bench. On a broad shelf, raised about 
ten inches above the bench, are kept opened and partly 
used cans of standing color. No color may be taken 
from the closets while a duplicate color is on the shelf. 
In the back of the shop are barrels of oil, turps, ben- 
zine and varnish. Over the barrels are racks for 
cans, which are kept filled from the barrels by the 
shopman. One rack contains ten five-gallon cans of 
oil, another rack ten two-gallon cans of oil, while an- 
other contains ten one-gallon cans. The same ar- 
rangement is made fop turps, while varnishes are de- 



THE MODERN PAINT SHOP— ITS MANAGEMENT 131 

canted in one-gallon cans. All these racks are sten- 
ciled as to the articles contained in each. The time 
saved by this arrangement is very considerable. Sup- 
pose ten men need oil on different jobs. Instead of 
waiting to draw from tanks, each man may be in- 
stantly supplied from the racks. 

White lead for this shop is bought in casks. Three 
large tubs, with covers, are kept well filled with mixed 
color in the busy season. One tub contains white mixed 
for inside work, another contains white mixed for out- 
side use, while the third tub is used for light drab 
resulting from the mixture of all light colors re- 
turned. It is, of course, used up before old enough 
to become fatty. A smaller tub is provided for dark 
colors returned. 

Every stepladder, plank, rope, or tool of any de- 
scription is listed, and all tools sent out on a job are 
charged on a tool slip, telling exactly their location. 
The charging of the tools is done by the shopman. 
When a job is finished, the man in charge is required 
to make out a list of everything left at the place of 
work. A printed slip with a space for each of the 
various tools used by a painter is furnished him. This 
slip is filled out and given to the shopman, who at once 
turns it over to the wagon hand with instructions to 
bring the tools to the shop. The tools returned are 
compared with the list filled out by the painter, and 
also with the tool charge slip. If anything is miss- 
ing, it is at once looked after, and generally found. 
Under this system, it is not necessary every year to 
replace a large number of lost tools. 

Stock charging is carefully looked after, and the 
busiest time of the day is from 6 :30 to 7 a. m. The 
shop forces, consisting of the master painter, shop- 



132 ESTIMATES, COSTS AND PROFITS 

man and clerk, are on hand at 6 :30 a. m. The books 
are taken from the office into the paint shop and 
placed on a desk facing a fine set of platform scales. 
These scales having a double-faced beam, the clerk 
making the entry can at once ascertain the correct 
weight. Any stock taken out of the shop after the 
morning hour is charged on stock slips, which are all 
taken from the file and entered in the books before 
the day is over. 

There are no ''leaks" in this paint shop. Each man 
is supplied with a complete set of brushes — -two paint 
brushes, two sash tools and several fitches, all of 
which are charged on the books, together with the 
number of the locker. 

When new brushes are needed, the old stumps must 
be turned in, and there is a regular brush inspection 
every week. Each man is required to furnish himself 
with the following tools : One glazing or stopping 
knife, one broad knife or scraper, a small pointing 
trowel and a good duster. Clean overalls are required 
every Monday morning, and a refusal to observe these 
rules means a resignation from the objector. 

Clean pots are furnished the men, and it is made 
a point that the pots be returned to the shop in the 
same condition. 

The time sheet is issued daily to each man, the day 
being printed across the face of each sheet. Each 
day has a different color. The men are required to 
fill out the daily sheet, embodying a description of 
the work done by them on that day. Men reporting 
at the shop the next day are required to hand in their 
sheets berore going to work. Those who do not re- 
port, are required to mail them over night and put 
in their claim weekly for postage. Under this system, 



THE MODERN PAINT SHOP— ITS MANAGEMENT 133 

all the time worked on any particular day is correctly 
charged by 10 o 'clock on the succeeding day. If fifty 
men are working, you have a complete journal of their 
proceedings and can always make out your account 
without waiting for the weekly time sheet, and with- 
out making inquiries amoug the men. 

The daily time sheet seems to entail very consid- 
erable work, but in reality it is far less troublesome 
than the weekly time sheet, and all the time is cor- 
rectly entered at once. 



f 




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How to Become a Successful Mo- 

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Instructor Lea. 1.50 

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Automobile Starting and Light- 
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Practice Cloth $2.00 

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Complete Examination Questions 




and Answers for Marine and 




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The Steam Turbine, Its Care and 




Operation Cloth 


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Made Easy Cloth 2.00 

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Five Orders of Architecture Cloth 1.50 

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1. Exterior Painting, Wood, 






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Oil Colors 


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3. Colors 


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4. Graining and Marbling 


Cloth 


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5. Carriage Painting 


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6. The Wood Finisher 


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New Hardwood Finishing 


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Estimates, Costs and Profits — 






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Putney's Law Library 

(12 volumes) Buckram $60.00 

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and Magnetism Paper .50 

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Ropp's Calculator — 

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A Day at the Know-It- All 

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mas 50 .25 

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Because I Love You $0.50 $0.25 

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Guide 50 .25 

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and Social Forms 50 .25 

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with 12 Hens 50 .25 

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LIBRARY OF CONGRESS 




013 962 594 8 



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